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Summer Arts Guide 2024

Memphis, it’s summer. Officially. June 20th marks the start of the season. So that means it’s time for the Flyer’s Summer Arts Guide, and never one to disappoint, the Flyer has it ready, not a moment too soon, and not a moment too late. 

ON DISPLAY

“Memphis 2024”

Memphis 2024 celebrates artists working in Memphis today through more than 50 works.

Dixon Gallery & Gardens, through June 30

“It’s All Relative”

Morgan Lugo’s metal work examines how our unique perspectives shape our experiences.

Metal Museum, through July 7

“Progression”

Sowgand Sheikholeslami’s colorful paintings exist outside of realism. 

Dixon Gallery & Gardens, through July 7

The WE Art Gallery

This year’s annual exhibit at the Woman’s Exchange features new works by established local and regional artists and a number of talented newcomers.

Woman’s Exchange, through July 31

“People Are People”

This exhibit honors famed American designer Christian Siriano’s electrifying contributions to fashion. 

Memphis Brooks Museum of Art, through August 4

“Branching Out”

Discover intricate connections between students, teachers, and casting communities, which branch out much like a family tree. 

Metal Museum, through September 8

“Summer Art Garden: Creatures of Paradise”

Monstrous bugs and tiny Thumbelinas relax in a fantasy landscape in Banana Plastik’s installation. 

Memphis Brooks Museum of Art, through October 26

“Bracelets, Bangles & Cuffs: 1948–2024”

This collection of contemporary bracelets reveals the wide-ranging creativity of artists working in this jewelry form. 

Metal Museum, through November 17

“2023 Wilson Fellowship: Danny Broadway, Claire Hardy, Thad Lee, and John Ruskey”

The Dixon has partnered with the town of Wilson, Arkansas, to help bring cultural activity to the Arkansas Delta through an artist residency program. This exhibit features work by the inaugural cohort of Wilson Fellows, Danny Broadway, Claire Hardy, Thad Lee, and John Ruskey.

Dixon Gallery & Gardens, July 14-September 29

“Health in Enamel”

Themes of health, healing, and spirituality crystallize with a survey of current enamel holdings in the Metal Museum’s permanent collection and a community-based quilt project.

Metal Museum, July 14-September 29

“Southern/Modern: 1913-1955”

This exhibit tells the tale of progressive visual art in the American South.

Dixon Gallery & Gardens, July 14-September 29

“Beyond the Surface: The Art of Handmade Paper”

This exhibit explores the shape-shifting quality of paper.

Memphis Brooks Museum of Art, September-December

“Roll Down Like Water”

Memphis-based Peruvian-American photographer Andrea Morales’ portrayal of the Delta South is deeply rooted in the communities she engages with. 

Memphis Brooks Museum of Art, September-January

ON STAGE

Catch Me If You Can

This musical tells the thrilling adventure of a con artist who poses as a pilot, doctor, and lawyer, all while being pursued by the FBI.

Playhouse on the Square, through July 14

Josh Threlkeld at The Grove (Photo: Justin Fox Burks)

Concerts in the Grove

Enjoy music, food trucks, and corn hole. Scheduled to perform are Cyrena Wages (June 20), Alice Hasen and Josh Threlkeld (June 27), and MSO Big Band (September 19).

Germantown Performing Arts Center, select Thursdays

Orion Free Concert Series

The Orion Free Concert Series welcomes local, national, and international acts. Find the full lineup at overtonparkshell.org/freeconcertseries. Opera Memphis will give a special Opera Goes to Broadway performance on September 29, and Tennessee Shakespeare Company will perform a special production of Shakespeare’s The Comedy of Errors on October 20. 

Overton Park Shell, select dates

Happy Hour in the Grove

Enjoy a free concert, drink specials, deals on local beer, and $5 wine. Scheduled to perform are Short in the Sleeve (June 21), Soulshine (June 28), Bedon (July 12), Alexis Jade and D Monet (July 19), and rising talent from the Circuit Music Seen (July 26).

Germantown Performing Arts Center, Fridays through July

Cinderella

The iconic saga of rags to romance comes to life in Rodgers and Hammerstein’s Broadway classic.

Theatre Memphis, through June 30

9 to 5: the Musical

Collierville Arts Council presents this fun musical, based on the titular film, with music by Dolly Parton.

Harrell Theatre, June 21-30

Come From Away

Residents of small town in Newfoundland open their homes to 7,000 stranded travelers on 9/11. 

Orpheum Theatre, June 21-23

Coco Queens

Four women confront the deep and often painful challenges of love, forgiveness, and Black womanhood.

TheatreWorks@TheSquare, July 12-28

MAMMA MIA!

The characters, the story, and the timeless hits of ABBA are what make this the ultimate feel-good show.

Orpheum Theatre, July 23-28

Carmen Jones

Hattiloo Theatre puts on this World War II-era musical about a love that turns deadly.

Hattiloo Theatre, July 26-August 18

Coconut Cake

A woman moves to town and tempts Eddie and his retiree buddies with her mysterious ways.

Hattiloo Theatre, August 9-September 8

Bill Cherry … The Final Curtain

World-renowned Elvis Tribute Artist Bill Cherry returns to the Halloran Centre with special guest Ginger Alden.

Halloran Centre, August 14

Grease

Grease is the word in this iconic musical. 

Theatre Memphis, August 16-September 8

Ride the Cyclone

Six high-school choir members have died on a faulty rollercoaster. A mechanical fortune teller offers one of them the chance to return to life.

Germantown Community Theatre, August 16-September 1

Waitress

Jenna, a skilled pie maker and waitress, is trapped in a loveless marriage with an unexpected pregnancy, but finds hope in a baking contest. 

Playhouse on the Square, August 16-September 15

PJ Morton

The five-time Grammy-winning soul singer, songwriter, performer, producer, and Maroon 5’s full-time keyboardist for the past 12-plus years comes to Memphis.

Orpheum Theatre, August 18 

Jazz in the Box: Alexa Tarantino Quartet

Get up close and personal with live jazz, including performances by the Alexa Tarantino Quartet on September 6 and Tierney Sutton and Tamir Hendelman on September 27. 

Germantown Performing Arts Center, September 6 and 27, 7 p.m.

Memphis Songwriters Series: Victoria Dowdy, JB Horrell, and Raneem Imam

Hear from three of Memphis’ own seasoned musicians.

Halloran Centre, September 12

Southern Heritage Classic Presents Patti Labelle

The Godmother of Soul brings her effortless ability to belt out classic rhythm and blues renditions, pop standards, and spiritual sonnets.

Orpheum Theatre, September 12

A Midsummer Night’s Dream

Theatre Memphis puts on one of the Bard’s most popular comedies.

Theatre Memphis, September 13-29

Little Shop of Horrors

This deviously delicious Broadway and Hollywood sci-fi smash musical has devoured the hearts of theater-goers for over 30 years.

Harrell Theatre, September 13-22

What the Constitution Means to Me

Playwright Heidi Schreck skillfully breathes new life into the Constitution through her innovative play. 

Playhouse on the Square, September 13-October 6

Rachmaninoff’s Rhapsody on a Theme of Paganini and Copland’s Third Symphony

Memphis Symphony Orchestra kicks off its 2024-2025 season with this performance.

Cannon Center, September 14, 7:30 p.m. | Scheidt Family Performing Arts Center, September 15, 2:30 p.m.

Roman Banks as ‘MJ’ and the cast of the MJ First National Tour (Photo: Matthew Murphy, MurphyMade)

MJ 

Michael Jackson’s unique and unparalleled artistry comes to Memphis in MJ, the multi Tony Award-winning new musical centered around the making of the 1992 Dangerous World Tour.

Orpheum Theatre, September 17-22

Patterns

Germantown Community Theatre presents emerging local playwright Michael Hoffman’s world premiere of Patterns.

Germantown Community Theatre, September 20-29

Avatar: The Last Airbender in Concert

This captivating experience blends a live orchestral performance of the iconic series soundtrack with an immersive two-hour recap of the animated show’s three seasons on a full-size cinema screen.

Orpheum Theatre, September 25

AROUND TOWN

Super Saturday

The Brooks offers free admission and art-making during its monthly Super Saturdays. 

Memphis Brooks Museum of Art, first Saturday of the month, 10 a.m.-noon 

Stax Family Day

Join the Stax for a fun-filled afternoon with free admission, games, activities, and music. 

Stax Museum of American Soul Music, second Saturday of the month

Live In Studio A: Summer Series with 926

Join the Stax Museum of American Soul Music for live music by 926, the Stax Music Academy Alumni Band. Admission is free for all Shelby County residents.

Stax Museum of American Soul Music, Tuesdays, June and July, 2-4 p.m.

Munch and Learn 

Grab lunch and enjoy a lecture presented by local artists, scholars, or Dixon staff, sharing their knowledge on a variety of topics.

Dixon Gallery & Gardens, Wednesdays, noon-1 p.m.

Whet Thursday

The Metal Museum hosts a free after-hours event with demonstations, admission to the galleries, food, and drink. 

Metal Museum, last Thursday through August, 5-8 p.m.

Wax & Wine: Soul Records + Southern Chefs + Global Wine

Wax & Wine is a fundraiser benefiting Stax Museum of American Soul Music, and celebrating the unmistakable character of southern soul and R&B music, food, and wine. 

Stax Museum of American Soul Music, June 28, 7 p.m.

Glam Rock Picnic: Fundraiser, Art Market, & Interactive Sculpture Party

Participate in the making of local artist Mike McCarthy’s newest sculpture, The Aladdin Sane Weathervane, a 9-foot tall statue honoring David Bowie. Featuring live music, art vendors, face painting, Eric’s food truck, and a David Bowie-themed bar, this event has something for everyone.

Off the Walls Arts, June 30, noon-5 p.m.

Exhibition Lecture: Hidden in Plain Sight: Reconsidering the South’s Role in Modern American Art

Exhibition curator Dr. Jonathan Stuhlman will discuss how “Southern/Modern” was conceived and organized, and introduce the key artists and themes found in the show. 

Dixon Gallery & Gardens, July 14, 2-4 p.m.

“Christian Siriano: People Are People” Inspired Pattern Making Workshop with Jayla Slater

Teaching artist Jayla Slater leads a hands-on fashion workshop and explore fashion as a designer.

Memphis Brooks Museum of Art, July 24, 5:30 p.m.

Christian Siriano’s “People Are People” (Photo: Courtesty Memphis Brooks Museum of Art)

A Fashion History Tour of “Christian Siriano: People Are People” with Ali Bush

Get an inside look at how fashion history informs contemporary designers like Christian Siriano from Ali Bush’s point of view, in the “People Are People” exhibit.

 Memphis Brooks Museum of Art, August 1, 6-7 p.m.

Art on the Rocks: Garden Cocktails & Craft Beer (21+)

Art on the Rocks brings botanical cocktails, craft beer, wine, and more together in the gardens. Guests will enjoy a variety of drink tastings, bites from local restaurants, and live music.

Dixon Gallery & Gardens, September 6, 6-9 p.m.

6×6 Art Show-Canvas for a Cause 

Join the UrbanArt Commission for the 6×6 Art Show-Canvas for a Cause where artists showcase their talent on small canvases to support a great cause.

UrbanArt Commision, September 12,6-8 p.m.  

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“It’s a Fine Line”

Since opening her Sheet Cake Gallery in December 2023, Lauren Kennedy has enjoyed pairing artists together in two-person exhibitions, making aesthetic connections that wouldn’t have been made otherwise. For the upcoming show, “It’s a Fine Line,” with Stephanie Howard (Greenville, SC) and Khara Woods (Memphis), Kennedy says both artists reflect on the passage of time — “feelings of impermanence and lack of control” — both through meticulous linework, repetition, and attention to detail. 

“For Stephanie, in sitting down and really getting lost and meditating in the practice of making these really intricate detail drawings, she finds that she can suspend a moment in time in the work that is going to live on forever as that finished product,” Kennedy explains. 

Andromeda, 2024, Spray Paint on Wood Panel (Photo: Courtesy Sheet Cake)

Meanwhile, the precise, geometric forms in Woods’ woodworking evoke her deep love for architecture and desire for structure in a chaotic world. “Specifically in this body of work for Sheet Cake, she’s gotten really fixated on thinking about the life cycles of stars,” Kennedy says. “And we use the stars and celestial bodies to mark time or to measure unimaginable distances, but at the same time, they’re so beyond our reach and so outside of our full comprehension. So there’s both this process of exerting her own control through the way that she is making the work, and being able to create these highly ordered and clean, precise woodcut panels, but also kind of honoring the universe in which we’re existing and in these things that are really beyond her control.”

“These are concepts that really can be very overwhelming and consuming,” Kennedy continues, “but then to take that and to make something really specific and just find their way through it by the process of creating art, I find it really poetic in a way.”

Yet when seeing the show, Kennedy encourages viewers to seek out whatever makes their “heart sing.” “It’s totally valid to have your own experience and understanding of it,” she says. “I would just want people to come in and feel moved by the work and to feel excited about the work.” 

“It’s a Fine Line” Opening Reception, Sheet Cake Gallery, Saturday, June 29, 5-7:30 p.m.

On view through August 9.

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24 Hour Plays

In 24 hours, six playwrights will write six 10-minute plays, which six directors will then direct for 24 actors to then act in. It’s the ultimate challenge for any theater-lover, a beloved format founded in New York City back in 1995 and adopted by LoneTree Live for Memphis in 2022. This June marks Memphis’ third 24 Hour Plays.

On Friday, June 28th, the six writers will write overnight, says Julia Hinson, LoneTree’s executive director. “I almost think of it like a theater lock-in. Their plays are due at 6 a.m. and then we print all the plays. And then the directors come just a little bit later, and the actors, and then we rehearse all day. And then by seven o’clock the next night, we perform all six plays.”

24 Hour Plays: “There’s always a kooky kookiness.” (Photo: Courtesy Theatreworks)

Of the day, Hinson says, “It’s fun. It’s exhilarating. There’s usually a moment in the day for the actors, where they are like, ‘Why did I sign up for this?’ Because it can be pretty scary to think you’re gonna go on at the end of the night.”

Perfection is often unattainable for the performances, which actually can be creatively freeing in stages as early as the writing process. “At a certain point you just have to be done, yet you still get a production,” Hinson says. “In the world of theater, you’re not always guaranteed a production. We love to give local talent the opportunity to shine.”

The plays themselves range from comedy to drama. “Then, there’s always just a level of absurdity,” Hinson says. “I don’t know if it’s the late hours or just how quickly we have to do it, but there’s always kooky kookiness.” She adds, “It really is a celebration of the theater community.”

Before the production and in between plays, musician and composer Eileen Kuo will perform. There’ll also be donated beer from Hampline Brewery, popcorn, and cotton candy.

24 Hour Plays, TheatreWorks@Evergreen, Saturday, June 29, 7 p.m.

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Clandestine Creative Club

On any given Thursday evening, if you walk into the back of the Ink Therapy, you’ll find a group of artists — hobbyists and those looking to break into the scene professionally alike — working on their craft, whether it’s drawing, painting, graphic design, jewelry-making, or crochet. They call themselves the Clandestine Creative Club, and anyone’s welcome to join. 

The founder of the club Noah Womack, who also goes by the artist name Braincrumbs, says he was inspired by a similar club called the Grind Shop that only lasted about a summer in Memphis a few years ago. “Artists would come together and work on projects,” he says. “After that ended, I think everybody was kind of missing that. And then after the pandemic, there was really a lack of community, and everybody felt very isolated and distanced. And I know, especially for a lot of my artist friends, especially after the pandemic, with a lot of their social anxiety, it was really hard to get out and meet people and get together after the pandemic. So after feeling that for several years, I wanted to put it back together.”

Photo: Courtesy Ink Therapy

So last summer as David Yancy’s Ink Therapy was still getting its licensing in order, the tattoo shop opened its doors to the club which held meetings there for a while until the business opened. “This January, [Yancy] had bought that additional back room and had built a little area for us in the back,” Womack says. “So he invited me to start it back up, and so we’ve been doing it ever since then.”

The weekly meetings are free and non-committal, with members so far ranging in ages 19 to 35. “I consider anybody who’s been to the club meeting at least once to be an official club member,” Womack says.

Recently, the club started having theme nights, such as a “Clay Day” and an “Everybody Draw Everybody” night. “People seem to be a lot more engaged during those nights,” Womack says. “So I think I’d like to do some of those more often.”

Clandestine Creative Club, Ink Therapy, 485 N. Hollywood, Thursdays, 7-9:30 p.m. Keep up with the club on Instagram (@clandestinecreativeclub).

Categories
Music Music Blog

Goodbye to Artist, Magnetic Fields Collaborator & Friend, L.D. Beghtol

Mike Davis

L.D. Beghtol in Memphis, 2001

“You’ve got a devastating point of view and everything you say is true.”
 — Stephin Merritt,“The Way You Say Good-Night.”
      From 69 Love Songs, performed by L.D. Beghtol

“Sweep everything under the rug for long enough, and you have to move right out of the house.” ― Rachel Ingalls, Mrs. Caliban

This is a bad story. There are worse stories, and sadder ones, usually involving orphans, serial killers, and/or extinction events. But the astonishing L.D. Beghtol is dead and no story beginning with news like that can be any kind of good. More than this, if you knew him, knew of him, or only recognize the sweetly whispering voice of “All My Little Words,” and other superb tracks from The Magnetic Fields magnum opus 69 Love Songs, no amount of accolades or fond accounting can make the bitter batter better. So be forewarned. If happy endings are your kink — if you like stories that make you feel better, affirm life, balm grief, and order the unruly world, if only for an estimated engagement time of 4 minutes — this isn’t the story you’re looking for.

L.D. arrived in Memphis in 1983. If that wasn’t tragic enough, he went by Larry, something people don’t forget half as quickly as you’d hope. Nevertheless, Larry persisted, rapidly distinguishing himself as a notable artist, designer, curator, pot stirrer and mischief maker. During a dozen-year run in the Bluff City he worked with Towery Publishing, organized art happenings, and fastidiously studied the lives and habits of famous murderers, while penning witty, literate art and music columns for periodicals like No: and The Memphis Flyer. LD Beghtol

Vintage No:

This industry came to no good end, of course, unless you reasonably stretch definitions of good to include a close proximity to biscuits from Bryant’s, everything from Cozy Corner, and a hidden rooftop pool atop that 19th-Century townhouse on Jefferson where Tallulah Bankhead’s parents were married; the pool that could only be accessed through a secret bookcase panel in an upstairs study and allowed for occasional naked swimming.

LD Beghtol

Sometimes things at least felt right, and good, and true, even if hindsight shows nothing could be further from the truth. To reign in this sprawling disaster, here’s a rundown of relevant facts. Before moving to New York with a sum total of $400 in his pocket, dreams of being a famous art director, a beard that amounted to little more than chin stubble, a good friend with a Christopher St. apartment, and no intention whatsoever of ever meeting indie rock guru Stephin Merritt, or recording some of the late 20th Century’s most critically acclaimed songs, L.D. was one of the busiest all purpose designers and art directors in Memphis. Between books, corporate ID and colorful posters for plays, concerts, and cultural events, his lovely and provocative work defined graphic Memphis and was ubiquitous to the Midsouth’s visual landscape.

Not content to work in two dimensions only, L.D. co-founded Nice Boys From Good Families, a multimedia arts collective. Nice Boys kick-started rave culture in Memphis while staging posh art openings and a beloved underground production of Vampire Lesbians of Sodom at Marshall Arts Gallery.
LD Beghtol

Blues on the Bluff

I’m leaving a lot out. L.D. was my friend and a vector of fascination. Without him I wouldn’t have met my wife or started a family, or a band, or learned anything about good skin and beard care, or how to cook chicken livers like a champ. I have so many personal stories illustrating L.D.’s wit, unmatched erudition, and complete inability to separate living and making. But all those stories would make you feel things, and, as I heard him scold so many times, “Feelings are wrong, Chris!” They lie to us, and confuse us, and make us think something matters, when it’s simply not true. So none of what I’m telling you so far is L.D.’s true and terrible story. It barely qualifies as an incomplete list of things accomplished by a professional polymath making transgressive, out-and-loud art in the conservative South while fostering fellow artists whenever and however he could.


At the risk of sounding like I’m writing an obituary — which would make L.D. cross — it’s necessary to continue in this vein a moment longer. The media company kind enough to publish our horrible tale deserves a few clicks, and doing so ups the odds of someone finding this article by searching for “Magnetic Fields” and “Singers who aren’t Stephin Merritt.” Speaking of…

In 1997, while living in an apartment above the Stonewall Inn (not the one occupied by Lou Reed and Laurie Anderson), and working as the art director for the Long Island Voice, L.D. became acquainted with Merritt, already an established force with musical projects like Future Bible Heroes, and the Gothic Archies. They shared tastes in literature and drink and a mutual fascination with bizarre old musical instruments. It wasn’t long before L.D., Merritt, Claudia Gonson, Daniel Handler, and various other Magnetic Fields regulars and irregulars were hard at play making 69 Love Songs. LD Beghtol

Cover design, 69 Love Songs

L.D., Merritt, and Dudley Klute (Kid Montanna, Magnetic Fields) also joined forces as The Three Terrors, staging an infamous series of cabaret performances. These are the creative associations and efforts for which L.D. is best known. He’s also known for making gingerbread. And for knowing all the best people, and where to obtain good Vietnamese food wherever you happen to be stranded.

Were it not so clearly against the artist’s famous, if sometimes misunderstood anti-sentimentalism, it might be appropriate to spend some time reconsidering all the bands L.D. helmed, and a body of recorded work that rivals his better known collaborations in terms of pop literacy and most other kinds of literacy, really. To honor his contrariness, however, and his special love for the Carter Family song “Give Me Roses While I Live,” I’ll spend no time ruminating on The Flare Acoustic Arts League or L.D.’s ability to craft meticulous lyrics about grim subject matter, and spin it all into an audio adventure as funny it is bleak. We’ll skip right over the superb Moth Wranglers project and Tragic Realism, an eschatological romp by LD & the New Criticism where high honky tonk and vaudeville collide in a gorgeously imagined effort sometimes worthy of The Fugs at their scatalogical best.

By this point, astute readers are probably asking themselves, “If none of this was really LD’s story, what is?” Critical readers additionally wonder, “And do we care?” Answers, in order, are, “I’m coming around to all that,” and “Not if you’re fortunate.” A number of friends commenting online have, to my mind, mistaken LD’s anti-sentimentalism for being unsentimental. It’s given them pause, and weird feelings about sharing their own memories in a sentimental way. I too know how he felt about cheap sentimentality, which he sang about beautifully, but preferred to observe from afar. But we’re also talking about a grown man who decorated his personal space like it might belong to a little boy who died a hundred years ago. For this reason alone, we should probably expand our views of sentimental life, and briefly consider a childhood that, to hear LD tell it, was often unhappy and sometimes spectacularly cruel. Courtesy of Galen Fott

‘Godot,’ a Clarksville High School-era illustration by LD Beghtol.

Old Clarksville’s a city on the Cumberland River in Middle Tennessee, carved into steep hills near the Kentucky border. L.D. might want readers to know there’s now a bronze statue of Clarksville’s most famous actor, Frank Sutton, located on Franklin Street, across from The Roxy Theatre, a place where Sutton — best known for playing Jim Nabors’ arch-nemesis, Sgt. Carter on the hit TV show Gomer Pyle U.S.M.C. — never actually performed. For context, he might also want you to know that bronze statues of Confederate soldiers remain, and that the city borders the Ft. Campbell U.S. military base where L.D., being part of a military family, was born fabulous.

There’s much to consider about L.D.’s time in Clarksville, where he discovered the art of Aubrey Beardsley, the mystery of perfect cornbread, punk rock, musical theater, and the joys of madrigal singing. This is also the place where our story takes its first turn for the worse. How else could it turn? One time, when L.D.’s family was out for a drive, the front half of a deer with enormous antlers came crashing through the passenger side window of the car. The terrified animal started thrashing around while the car skidded and swerved, and the deer bucked and kicked to disentangle itself. “My sister lived,” he’d say, dryly. I mention this event only to further suggest that, as troubling memories go, this was one. And to assuage any ideas that L.D.’s Gothic leanings were anything but earned. LD Beghtol

Created for Theatre Memphis’ production of A Lie of the Mind. Painted print with deer blood.

There was no greater admirer or collector of antique photographs than L.D. Friends who followed him on social media are probably familiar with all his “dead boyfriends” — a faded black and white gallery of sturdy 19th-Century fellows with fine facial hair and swell duds. In addition to collecting, L.D. gave his boyfriends stories, and wrote parts for himself.

The photo collection extends beyond dead boyfriends, of course. He collected dead imaginary family and friends too. Now, I’m sorry to say, it’s time to get real. Phil Campbell is a former staff writer for The Memphis Flyer, currently living in Queens. Phil met L.D. in 2010 when he joined me and fellow Flyer alumni Jim Hanas for coffee and drinks in Brooklyn. Following this Memphis publishing reunion, Phil and L.D., formerly two friends of friends, became regular friends and frequent museum buddies. After visiting an exhibit together, Phil, a compulsive memoirist, asked L.D. how he would pose for a photograph, were it the late 1900s and he “only had one real chance in his life to be photographed.”

Without hesitation, off the top of his head, LD answered, “It’d be English summer, 1896 or so: I’d wear a striped Henley blazer; deepish-brimmed straw boater with grosgrain band; round-collard soft-front shirt; four-in-hand silk tie, wide-ish, shortish; white flannels or line trousers, quite narrow, slightly pegged, but no cuffs; perhaps a light vest, possibly knit; lace up high top Oxfords, canvas and leather. Absurd socks — with clocks on them? I’d be photographed with an equally dapper friend (or two) with our bicycles, near a lake or having a little picnic under a plane tree.”

According to Phil’s essay, L.D. would, “pose with a dog, which he does not actually have in the 21st-Century. Its name would be Montmorency.” At last, we’ve gotten to it: This piece of instant art direction is the true and tragic story of my friend L.D. distilled. It’s everything you need to know in order to know everything you need you know about things you should know and all the things that matter. Robin Holland

The Magnetic Fields, 69 Love Songs lineup

It’s true, our subject would likely reject even the idea of heartbreak, swearing there was nothing but a great dark hole in the center of his chest. What’s understood about the cardiac event that ended his life suggests L.D. was fibbing on this score. So if you’ve been been hesitant to indulge in feelings, it’s probably okay to lose all cool in your remorse. For all the good it will do you. The heart that failed L.D. was enormous and often full.

If this doesn’t fully allay concerns, one might also frame tributes in the form of small plays, or present them in the style of a beloved author. A little distance goes a long way. “He offered to try to tune my Marxolin once, and I never forgot it,” one admirer posted to Twitter, shortly after the bad news broke. “I guess it’s the small things.”

Of course LD knew how to tune a Marxolin. And of course he offered to tune somebody’s Marxolin for them. And yes, it’s exactly the small things. And the old and fragile things. The forgotten, esoteric things of great power and no consequence; broken, beautiful, and probably without objective meaning. These are the things that mattered. If ever there was a sweet curmudgeon, born to be posthumous, it is L.D. Beghtol. And wouldn’t you just know it, author Mark Dery already claimed “Born to be Posthumous” as the title for his 2018 Edward Gorey biography. I know because L.D., as generous with books as he was with offers to tune Marxolins (and everything else, really), gave my family the hardback edition as soon as it was available. With this anticlimactic joke, about as funny as an urn to the head, our woeful yarn reaches its doleful conclusion. A great spirit has been lost; attention must be paid. Goodnight, dear L.D. And, foiled again!

Categories
Art Art Feature

Is Loving Local the Wrong Approach?

Way back in 2013, there used to be a snarky Tumblr called “Commercially Unappealing” whose author (or authors) critiqued the Memphis art scene from behind the veil of anonymity. Though it is now defunct, the blog used to occasionally make some sharp judgments, among them, the thought that “there should be a moratorium on including the words ‘Memphis’ or ‘Southern’ in exhibition titles here.”

The post was a response to a reader-submitted question that queried, “What is the longest span of time that has elapsed in Memphis without there being an art show ABOUT HOW IT IS IN MEMPHIS? When you go to a city like, say, Denver, do you want to see a bunch of self-referential shit?”

“Memphis,” the harried reader concluded, must “find comfort in its regionalism.”

Regionalism. Ah, yes. The condition under which contemporary art made anywhere but New York, Los Angeles, London, and Paris must be qualified with some explanatory epithet. These qualifiers (he’s a Southern artist; that’s an Appalachian sculpture) serve a double purpose of both promoting a kind of exceptionalism (how folksy and real!) that protects the art from any actual contemporary critique and places it squarely beneath a kind of Mason-Dixon-y glass ceiling. Regionalism is the art world equivalent of introducing yourself as a “female writer” rather than just a “writer.” It’s a classic dilemma of people who have been treated as an underclass, who have had to craft their own narratives, failing an institutional embrace. And it’s not necessarily a bad thing. Southern arts are historically so identified not because they are lesser or greater, but because we offer something unique that is worth identifying at the outset.

It is good to acknowledge where you fit in history. But when — we female writers and Southern artists ask — does the label fail to serve?

In the case of Southern art, the answer is that we are overdue. Seventy years ago, there was ample reason for Memphis painters to identify first and foremost as “Memphis artists,” considering that they might rarely leave the tri-state area in their lifetimes, and most of what informed their art could be found in a 50-mile radius. Not so these days. We have Wi-Fi. Reddit exists. It’s not exactly breaking news that we live in a globalized world, a world from which so-called “regional” artists are inextricable.

So when you tell me that your art show is about “Southern arts,” I expect work with a narrowed gaze. It’s not that it is artistically wrong to paint cotton fields under a mottled blue sky. It’s just that there can no longer be any pretense that landscape painters in Memphis aren’t just as inspired by Instagram as they are by the Arkansas lowlands. It would be as telling to call your show “The Art of the South(ern Users of Google Image Search).”

Emily Ballew Neff, the new Brooks director, is all for opening up the conversation. Says Neff, “I’m a firm believer in cross-pollination, and Memphis has an ecosystem that I believe would benefit by greater exposure to international and national artists.” She maintains that a more international perspective, correctly executed, would “never be at the expense supporting our Memphis artists” but instead “will only elevate the art conversation in our city and lead to a more vibrant community artistically overall.”

Likewise, Urban Art Commission’s director Lauren Kennedy says, “I think there is a lot of room for Memphis to participate more broadly in the national arts scene. There are people making work, and big conversations are happening, but I don’t feel like we are as plugged into those conversations as we can be … I see that kind of interaction as an incredible growth opportunity for everybody.”

We can love our Memphis roots without limiting the reach of our arts. The best way to choose 901, as far as contemporary art is concerned, is to know that the sphere of creativity is not delimited by I-240.