Visiting Artist: Nell Warren

Nell Warren Selected Counterpart of James Lavadour : Both Bring a New Landscape to Nashville

Today’s visiting artist feature is Oregon mixed media artist Nell Warren. Nell seeks to illuminate the story behind her mark making by using paints, molding paste, marble dust, and other tactile media to explore and rediscover the surface. Nell has studied and developed her practice internationally and earned her BFA from Rhode Island School of Design.
Ask us about her available works! And to learn more about Nell Warren, visit our website- under the Artists Select Exhibition page:

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Fred Stonehouse + Michael Noland

Known for his unorthodox figural work, Wisconsin artist and professor Fred Stonehouse chose his respected colleague and friend Michael Noland to participate in Artists Select. While their art differs in style, the two painters have influenced each others’ careers and experiences for the past 25 years. Based in Milwaukee, Michael’s imagery channels pattern and a bold palette toward indigenous subject matter. Stonehouse says, “His work comes from a very deep and personal place and that is something that I respect more than anything in an artist.”

View the artists’ catalogue of work in the Artists Select online gallery. You can view resumes and CVs of each artist on our website exhibition page.

Lori Field Selects Hanna von Goeler

Lori_Hanna_facebook_bannerLori Field and Hanna von Goeler


Known for her encaustic works, mixed media artist Lori Field selected her friend and neighbor Hanna von Goeler, a skilled painter from New York. With a critical use of currency, Hanna questions the prevailing emphasis on money in the world and the interplay between economics and environment. A critical tone  towards contemporary culture and currents events is also offered in Lori Field’s work, as she creates her own mythology. Animal hybrids, androgynous figures are elegantly rendered, provoking themes of beauty and innocence.

View the artists’ catalogue of work in the Artists Select online gallery. You can view resumes and CVs of each artist on our website exhibition page.

John Fraser Selects Steuart Pittman


Born in Chicago, multimedia artist John Fraser has shown his work at Cumberland Gallery for nearly ten years. Steuart Pittman, a painter who recently earned his MFA at Mills College in Oakland, CA, creates a type of painting that “disarms” with its confidence.Linked by a minimalist aesthetic, these two artists share a sacredness of visual language. About Steuart’s work, John Fraser says, “[The paintings’] reduced forms, equally recognizable and remote, perhaps alien, hover in balanced, air-tight, surrounding fields of color, suggestive of both shallow and deep space.”

View the artists’ catalogue of work in the Artists Select online gallery. You can view resumes and CVs of each artist on our website exhibition page.

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Artists Select 2016 Opening this Saturday

Invite updated 040616.jpgARTISTS SELECT 2016 

APRIL 16 – MAY 21


Admission is free to the public


CONTACT: Carol Stein

PHONE: 615-297-0296

ADDRESS: 4107 Hillsboro Circle,

Nashville, TN 37215

GALLERY HOURS: 10:00AM- 5:00PM, Tuesday- Saturday



For the first time in 12 years, Cumberland Gallery presents Artists Select. This exhibit brings together eleven CG artists and eleven new artists they have recommended. We have created a space for distinguished, well-established artists on our roster to reach out and include other professionals with whom they share respect and artistic experience. We are pleased to introduce some new folks to the gallery in April side-by-side with Cumberland Gallery artists including: Bob Nugent, Cheryl Goldsleger, Dan Gualdoni, Fred Stonehouse, Jim Lavadour, John Fraser, John Henry, Leonard Koscianski, Lori Field, Marilyn Murphy, and Tom Pfannerstill.

Recommended by the artists above, visiting artists both emerging and established include Mark Eanes, Joanne Mattera, Tom Reed, Michael Noland, Nell Warren, Steuart Pittman, Bryan Rasmussen, Marcia Goldenstein, Hannah von Goeler, Michael Kempson, and Caroline Waite. This show arranges a diverse grouping of subject matter and style with media ranging from 2-D works in color-rich oil and rendered graphite to 3-D representations in wood, steel, and found objects. Showing each CG artist alongside his or her recommended colleague will provide viewers with context and a deeper insight surrounding the artwork.

The following artists will be present at the opening: Marilyn Murphy, Tom Pfannerstill, Caroline Waite, John Henry, Cheryl Goldsleger, and Marcia Goldenstein.


Visit our website  to find out more about Artists Select and the participating artists .*For more information on the artists, visuals, and other details, contact our managerial team: Inge Klaps ( or Georganna Greene ( Our director Carol Stein can be reached at


Carol Stein: Cumberland Gallery Director interviewed by Bloomberg Businessweek


Entrepreneurs 25 Years After H.R. 5050?

By November 14, 2013

Last month marked a quarter-century milestone for entrepreneurship policy that few entrepreneurs were likely aware of, let alone celebrated. On Oct. 25, 1988, President Ronald Reagan signed the Women’s Business Ownership Act. The law, designated H.R. 5050 for the equality it set out to establish for female entrepreneurs, banned discrimination against women seeking business loans and improved access to educational and technical assistance. Despite the gains that the legislation, and the women’s movement that sparked it, have brought about over the past quarter-century, women have not achieved anything close to true equality in business… (read the rest of the article including Karen’s interview with Carol here)

Greg Sand: Once Removed


Sometimes you just develop a crush on an artist and it’s tough not to think about the work A LOT. I’ve had these crushes on just about every artist represented by Cumberland Gallery but today I’d like to focus on photographer Greg Sand who recently paid us a visit with an extensive portfolio of work for our upcoming exhibit, Under The Radar, opening January 11th, 2014.

Sand’s prints are incredibly intimate, just the right size to gently cradle in your hand. The imagery is haunting, consisting of antique portraits in which the subject has been erased leaving only a trace of their existence represented by a pair of shoes, an empty chair, or the lonely shadow of the photo’s former occupant. In the artist’s words: The photographs are now about the absence of the subject rather than about the subject itself. Hopefully the viewer ponders the removal of the person and concludes, given the obvious age of the portraits, that the subject is dead. “By giving me the absolute past of the pose… the photograph tells me death in the future… I shudder… over a catastraphe which has already occurred.” These words from Roland Barthes’s Camera Lucida describe how I feel when I view a photograph as old as the ones used in this series. I feel a connection to the person, followed by a dread of what is to come, followed by a sense of grief at what has already transpired. The removal of the subject–who is very much alive in the photograph–forces the photograph to more truthfully depict the present reality in which the subject is no longer alive.

This is interesting to me on two levels. The first being that I’ve thought about loss a lot lately as our current show, Unique Visions, paints a varied picture of memory and history; a past the exists only in representations and imaginations. There’s a sadness behind the wild patterns and humorous digs at the private lives of the characters that hang on these walls.  One that touches on every aspect of the unseen/unheard self.

The second reason that I find Sand’s work interesting is, simply put, timing. How odd that this poignant imagery should come across my desk just as I’d spent the previous evening looking over the very Barthes essay that Sand references in his statement. Following on the previous night’s dreams of the expression on the face of Lewis Powell, a man convicted and hanged for the attempted assassination of US Secretary of State William Seward during the Lincoln administration. Barthes uses his image as an example of both the gaze of the past and future. The catastrophe that has already occurred before its time. It seems that we might all relate to this idea in a way that is intensely personal and here I am back again at the intimacy of Sand’s photographs. The small images gently reminding me of the passage of time with a nod to the future that fits so perfectly in the palm of my hand. This is one artist that won’t be under the radar for long. Visit his page on our website or make a point of stopping in to see this work in person on January 11th during our opening reception.

Greg Sand, Brothers, 2012
3.75″ x 3.75″ archival pigment print