Adrienne Edwards

  • Terry Adkins, Darkwater Record, 2003–2008, porcelain, five cassette recorders, sound, 31 × 12 × 14". © The Estate of Terry Adkins/Artists Rights Society (ARS), New York.

    “Terry Adkins: Our Sons and Daughters Ever on the Altar”

    Curated by Katie Delmez and Jamaal Sheats

    This exhibition, which unfolds at two Nashville locations, pays tribute to Terry Adkins’s unique relationship to Tennessee. Among the show’s forty-some sculptures, works on paper, and videos, several are influenced by the artist’s time at Fisk, the historically black university where Adkins was mentored by the likes of Aaron Douglas, Stephanie Pogue, and Martin Puryear. The exhibition also features examples of the artist’s “recital” installations dedicated to musicians such as Bessie Smith and Jimi Hendrix, who have relationships with the state as well.

  • Terry Adkins during his performance, The Last Trumpet, at the Performa Biennial 2013.
    passages May 19, 2014

    Terry Adkins (1953–2014)

    THE FIRST TIME I saw Terry Adkins perform live was at Third Streaming, an experimental space with an interdisciplinary focus in New York. It was May 2012, and we had gathered for the premiere of the Lone Wolf Recital Corps’s Atum (Honey from a Flower Named Blue). Terry founded the Corps in Zurich in 1986 as a changeable, nomadic performance group, and this evening it featured a choice quartet—Charles Gaines, Kamau Amu Patton, Cavassa Nickens, and of course Terry himself. After the performance, as was our ritual, most of us gathered around the precarious table in the compressed space that is