Beth Reitmeyer Bio
Beth Reitmeyer is a visual artist who likes to make people happy with her colorful installations. Her work investigates landscapes and the joy of unexpected yet beautiful spaces and places that are discovered as one explores the land and structures within it: clouds, rivers, caves, geodes, stars. These environments allow viewers to explore the land and get to know one another in a more profound way, providing space for renewal and hope for persevering.
Beth was born in Colorado Springs, CO and raised in Louisville, KY. She attended Northwestern University (MFA), The School of the Art Institute (Post Baccalaureate program), Western Kentucky University (MAT), and the Pennsylvania State University (BFA). Her sewing skills and love of glitter were learned from her mother.
Beth attended Northwestern University (MFA), Western Kentucky University (MAT), The School of the Art Institute (Post Baccalaureate program), and the Pennsylvania State University (BFA). Her work has recently been exhibited at the Frist Art Museum, Nashville; ChaShaMa, New York; The Elizabeth Foundation, New York; OZ Arts, Nashville; TedX Nashville, 1708 Gallery/Virginia Museum of Fine Arts, Richmond, VA; FIGMENT, Chicago; The Downing Museum, Bowling Green, KY; Kindling Arts Festival, Nashville; Zg Gallery, Chicago. Beth has been an artist-in-residence at The Studios at MASS MoCA, ChaNorth, Pine Plains, NY, the Sam & Adele Golden Foundation for the Arts, New Berlin, NY; Craigardan, Elizabethtown, NY; The Ragdale Foundation, Lake Forest, IL, Mineral House Media, and CONVERGE, Nashville. Recent awards include the Tanne Foundation award and grants from Metro Nashville Arts Commission/National Endowment for the Arts.
Beth moved to Chicago for school and lived there for 15 years. In 2010, she returned to the south to be close to her family. Beth teaches at Drakes Creek Middle School, Western Kentucky University, and Cheekwood Estates and Gardens.
ARTIST STATEMENT
We go through life, looking for hope and love, finding it in expected and unexpected places. My artwork strives to be a physical manifestation of the cherished yet unseen parts of our relationships: hopes, dreams, wishes, loss, and love. It seeks to foster relationships between people who may or may not otherwise meet, allowing them to spend time making memories and building friendships in specific places of one’s life.
Currently I am creating a series of places based upon landscapes: investigating rivers, caves, geodes, stars, and the moon. My work examines the joy of unexpected yet beautiful spaces and places that may be discovered as one explores the land and structures within it. These spaces are comprised of rich, luscious, inviting materials, such as fabric, glitter, and twinkle lights. The inviting environments allow the viewers to explore the land and get to know one another in a deeper, more profound way. They may also provide a space for renewal and hope for persevering.
My artwork embraces radical optimism (everyone can find joy and hope) and indiscriminate hospitality (all are welcome to create and experience joy through sharing). Hopefully viewers will realize that people are like landscapes: we make assumptions about initial appearances, but through knowledge and experience, pleasant surprises abound as we gain a deeper knowledge of each other while in the land and through art.
Education
M.F.A. in Art Theory and Practice, Northwestern University
M.A.T. in Visual Art, Western Kentucky University
B.F.A. in Art, concentration in Painting and Drawing, The Pennsylvania State University
Post Baccalaureate Program (not completed), The School of the Art Institute of Chicago
Awards and Residencies
2024
The Barney Bright Sculpture Award: Storm, Ohio Valley Biennial, LVA, Louisville, KY
Craigardan, Artist-in-Residence, Elizabethtown, NY
Western Kentucky University, Outstanding Graduate Student, Middle/Secondary Education
2023
Tanne Foundation Award
Golden Artist Colors and College Art Association, CAA-Golden Artist Colors Scholarship
2022
Golden Artist Colors, College Art Association, and The Sam and Adele Golden Foundation for the Arts,
CAA-Golden Artist Colors Scholarship and Artist-in-Residence, New Berlin, NY
ChaNorth, ChaShaMa, Artist-in-Residence, Pine Plains, NY
Fiber + Materials in Practice, Virtual Artist-in-Residence, Curated by Alonzo Pantoja
Best Gallery Upgrade, COOP Gallery (Co-President), Nashville Scene, Nashville, TN
2021
CONVERGE, Creator-in-Residence, Nashville, TN
Arts Letters & Numbers, Artist-in-Residence, Averill Park, NY
Vinegar, Shape: Art and Resilience, Virtual Artist-in-Residency, Birmingham, AL
COOP, member artist, Nashville, TN
2020
The Adventure Science Center, Maker-in-Residence, Nashville, TN
THRIVE Grant, Metro Nashville Arts Commission
Mineral House, Artist-in-Residence
Madison on My Mind Grant, Metro Nashville Arts Commission and National Endowment for the Arts
Global Art Grant Finalist, Burning Man Project
2019
The Ragdale Foundation, Artist-in-Residence, Lake Forest, IL
Glasgow Middle School, Visiting Artist, Glasgow, KY
2018
Pegram Elementary, Artist-in-Residence, Pegram, TN
Shakerag Workshops, Educator Scholarship, Sewanee, TN
2016
The Studios at MASS MoCA, Artist-in-Residence, North Adams, MA
2015
The Kentucky Foundation for Women, Artist Enrichment Grant
The Ragdale Foundation, Artist-in-Residence & instructor, Lake Forest, IL
Fermentation Fest Farm/Art DTour, Finalist, Sauk County, WI
2014
The Ragdale Foundation, Artist-in-Residence, Lake Forest, IL
2013
The Ragdale Foundation, Artist-in-Residence, Lake Forest, IL
2011
The Ragdale Foundation, Artist-in-Residence, Lake Forest, IL
2009
The Ragdale Foundation, Artist-in-Residence, Lake Forest, IL
University of Missouri, Visiting Artist, Columbia, MO
2005
The Ragdale Foundation, Artist-in-Residence, Lake Forest, IL
2003
Kansas City Art Institute, Visiting Artist, Kansas City, MO
2002
Anderson Ranch Arts Center, Artist-in-Residence Program, Snowmass, CO
2001
Evanston Arts Council/City of Evanston, 2001 Cultural Art Fund Award, Evanston, IL
2000
The Fabric Workshop and Museum, Apprentice Training Program, Philadelphia, PA
Solo Exhibitions
2023
Repair, collaboration with Ashleigh York and COOP artists, Tennessee Triennial, COOP Gallery, Nashville, TN
Meditative Walk with Wishing Stars, Lower Ramble, Fayetteville Art Council, Fayetteville, AR
Elemental, Artville, Nashville, TN
2021
For There Is Always Light, collaboration with Hannah McCarthy, Alysha Isari Malo, and Tabitha Meeks,
CONVERGE, Grassroots Art Park, Nashville, TN
Dawn to Dusk: Meditative Walk, Peeler Park, Madison, TN
2020
We Lift Our Eyes, @weliftoureyes, #weliftoureyes, www.weliftoureyes.com
2019
Wonderland, Kindling Arts Festival, Track One, Nashville, TN
Bushel of Tomato Fun, Tomato Arts Festival, Nashville, TN
Community Garden, Batch & Bushel Festival, Wilson County Exposition Center, Lebanon, TN
2018
Stars Above and Water Below, Family Day, OZ Arts Nashville, Nashville, TN
Field of Dreams, Downing Museum, Bowling Green, KY
2017
Frist Friday, collaborative project with ELEL, Frist Center for the Visual Arts, Nashville, TN
2016
Geode, collaborative project with ELEL, touring the US, including SXSW, TX
Landforms, Green Gallery, Turnip Green Creative Reuse, Nashville, TN
2015
Art is Illuminating, SeedSpace, Nashville, TN
Groundwork, Art Matters, Bowling Green, KY
Geode, collaborative project with ELEL, touring the US
2013
Room for Imagination, Houchens Gallery, The Capitol Arts Center/SKyPAC, Bowling Green, KY
2011
A Room for Inspiration, Hammes Gallery, Saint Mary’s College, Notre Dame, IN
2008
Hope Springs Eternal, Zg Gallery, Chicago, IL
2006
With Love, Zg Gallery, Chicago, IL
Art Fortune, Project Space, Art Chicago, Chicago, IL
2005
Spencer’s, Bowling Green, KY
2003
Telephonebooth, Kansas City, MO (collaborative installation with artist Laura Berman)
You Mean So Much To Me, Ohio State University, Marion, OH
2002
You Mean So Much to Me, Standard, Chicago, IL
2001
Flower Power, Urban Institute of Contemporary Arts, Grand Rapids, MI
Wishing Stars, Evanston Art Center Invitational, Evanston Art Center, Evanston, IL
Group Exhibitions
2024
Locus Solus, Volunteer State Art Gallery, Hendersonville, TN (curated by Lain York)
OZ Arts 10th Anniversary Bash, OZ Arts, Nashville, TN (curated by Madeleine Hicks)
Ohio Valley Biennial, LVA, Louisiville, KY (curated by Esther Callahan)
The Unity of Diversity, Downing Museum, Bowling Green, KY (curated by Miwon Choe)
Art Between the Avenues, COOP at Arcade Arts, Arcade Arts, Nashville, TN
Intimacism, Red 225, Nashville, TN (curated by Kathleen C. Boyle)
2023
Truth and Beauty, ChaShaMa, New York, NY
Jerry Baker/Jack Lunt Memorial Art Exhibition, Downing Museum, Bowling Green, KY (curated by Garrett Hansen)
ChaShaMa Rama, ChaShaMa, New York, NY
CONNECT, Bernheim Arboretum and Research Forest, Clermont, KY
Faculty Exhibition, Main Gallery, Western Kentucky University, Bowling Green, KY
2022
The End of the Impossible/Unconventional Art Exhibit, TedX Nashville, Schermerhorn Symphony Center, Nashville, TN (curated by Kimberly Sawyer and Danielle Krysa, The Jealous Curator)
Art of the South: Number: Inc. Juried Exhibition, Zeitgeist Gallery, Nashville, TN (curated by Katie Delmez, Senior Curator at the Frist Art Museum)
Illumination 2022, Cameron Art Museum, Wilmington, NC
Full Circle, Zoller Gallery, Penn State University, University Park, PA (curated by Giulia Piera Livi and D'nae Harrison)
Art of Science, Crosstown Arts, Memphis, TN (curated by Tawny Skye)
Dream House, The Kindling Arts Festival, Ozari, Nashville, TN
AbstracTENN, Channel to Channel, Chattanooga, TN
Open Air 22, University of Connecticut Avery Point, Avery Point, CT
Locational Shift: COOP New Members Exhibition, COOP Gallery, Nashville, TN
Bring Out Your Dead Ideas, Nashville Design Week, Confidant, Nashville, TN
2021
Comfort Riddle, Mineral House Media and Wavelength Space, Chattanooga, TN
Art and Resiliency, Vinegar Projects, Birmingham, AL
For There Is Always Light, Kindling Arts Festival, OZ Arts, Nashville, TN
2020
Home Work, North Park University, Chicago, IL
Art from Home, REACH Studio Art Center, Lansing, MI
Madison on My Mind Artist Showcase, Fiftyforward, Madison, TN
Mineral House group exhibition, Chattanooga, TN
Idea Festival Exhibition, SKyPAC Galleries, Bowling Green, KY
2019
ArtFields, Lake City ArtFields Collective, Lake City, SC
Nashville Visionaries, Hiram Van Gordon Gallery, Tennessee State University , Nashville, TN (curated by Carl Pope)
Modular Art Pods, Fort Houston, Nashville, TN
Under One Roof: Tikkum Olam: Repairing the World, OZ Arts and Gordon JCC, Nashville, TN
Way Late Play Date, The Adventure Science Center, Nashville, TN
Rags to Witches, The Ragdale Foundation, Lake Forest, IL
Kids in Nashville, Vanderbilt University Children’s Hospital, Nashville, TN
Secret ArtWorks, ArtWorks, Cincinnati, OH
2018
InLight, 1708 Gallery, Virginia Museum of Fine Arts, Richmond, VA (juror Kimberli Gant)
*Optimism*, 2018 Endless Editions Biennial, Endless Editions, The Elizabeth Foundation for the Arts –The Project Space, New York, NY (curated by Lukaza Branfman-Verissimo)
AHL/Paddle8, AHL Foundation, New York, NY
MusiCircus, OZ Arts Nashville, Nashville, TN
Crappy Magic, Track One, Nashville, TN (curated by David Hellams)
Secret ArtWorks, ArtWorks, Cincinnati, OH
2017
Extrasensory, Frist Center for the Visual Arts, Nashville, TN
FIGMENT North Adams, Windsor Lake, North Adams, MA
Haunted, Track One, Nashville, TN
Nashville Lantern Festival, Nashville, TN
CONNECT, Bernheim Arboretum and Research Forest, Clermont, KY
25th Annual Jack Lunt Memorial Juried Exhibition, Downing Museum, Bowling Green, KY
Friends and Family, Green Gallery, Turnip Green Creative Reuse, Nashville, TN
Solar Eclipse & Astronomical Art Show, FFOYA House, Bowling Green, KY
Studio Time, Corridor Gallery, Western Kentucky University, Bowling Green, KY
2016
Modular Art Pods, OZ Arts Fest, OZ Arts Nashville, Nashville, TN (Best in Show)
CONNECTglow, Bernheim Arboretum and Research Forest, Clermont, KY (First Prize)
FIGMENT, Frank Wilson Park, FIGMENT, Chicago, IL
24th Annual Jack Lunt Memorial Juried Exhibition, The Downing Museum, Bowling Green, KY (Purchase Award)
Celebration of the Arts, Kentucky Library and Museum, Bowling Green, KY (First Place Sculpture)
TIME + PLACE: Ragdale’s 40th Anniversary Exhibition, The Art Center, Highland Park, IL
Small Wonders, Lakes of Fire, Montague, MI
Secret ArtWorks, ArtWorks, Cincinnati, OH
2015
What Ought to Be: Envisioning the Impossible, BOX13 ArtSpace, Houston, TX
Mark, Ground Floor Gallery, Nashville, TN
Modular Art Pods, abrasiveMedia, Nashville, TN
You’ve Got Mail, Ground Floor Gallery, Brooklyn, NY
Holiday Show, Ground Floor Gallery, Brooklyn, NY
2014
A Wicked Problem, The Elizabeth Foundation For the Arts, New York, NY
W.here – We Are, Edwin W. Zoller Gallery, The Pennsylvania State University, PA
WKU Biennial Exhibition, Western Kentucky University, Bowling Green, KY
Midnight in the Garden of Good and Evil, The Ragdale Foundation, Lake Forest, IL
Vom Anhalten des Verschwindens (From the pause of the disappearance), Elektro Becker, Lanspringer, Germany
Idea Festival, Western Kentucky University, Bowling Green, KY
Secret ArtWorks, ArtWorks, Cincinnati, OH
2013
Gesturing Into Consciousness, Edwin W. Zoller Gallery, The Pennsylvania State University, PA
Alumni in Faculty Collections, Robeson Gallery, The Pennsylvania State University, PA
Celebration of the Arts, Kentucky Library and Museum, Bowling Green, KY
2012
Imagination Tree, The Ragdale Foundation, Lake Forest, IL
Secret ArtWorks, ArtWorks, Cincinnati, OH
Capitol Arts Celebration, Capitol Arts Center, Bowling Green, KY
2011
Drawing Connections, Siena Art Institute, Siena, Italy
Chain Letter 2011, golden PARACHUTES, Berlin, Germany
Celebration of the Arts, Kentucky Library and Museum, Bowling Green, KY
Compassion Fatigue, Second Presbyterian Church, Nashville, TN
2010
Power to the People, Feature Inc., New York, NY
Going Postal, Institute of Contemporary Arts (ICA), London, UK
House, Dreaming, The Ragdale Foundation, Lake Forest, IL
EXPOSED, ArtWorks, Cincinnati, OH
Public Theatre of Kentucky, Bowling Green, KY
Spencer’s, Bowling Green, KY
2009
Cluster F**k, Zg Gallery, Chicago, IL
EXPOSED, Artworks, Cincinnati, OH
Hope Over Fear, Grace Lutheran, Evanston, IL
2008
Group Think, Zg Gallery, Chicago, IL
The Ragdale Foundation, Lake Forest, IL
ArtWorks, Cincinnati, OH
2007
Heart and Soul, The Ragdale Foundation, Lake Forest, IL
Secret ArtWorks, ArtWorks, Cincinnati, OH
Summer Show, Zg Gallery, Chicago, IL
2006
Repetitive Gestures, Steamboat Springs Art Council, Steamboat Springs, CO
Shag and Stripes, SPACES, Cleveland, OH
Summer Show, Zg Gallery, Chicago, IL
2005
Summer Show, Zg Gallery, Chicago, IL
2004
Evanston Art Center, Evanston, IL
Shoebox Series, Bridge Magazine, Chicago, IL
2003
Artboat, Standard, Chicago. IL
*shoebox series*, Bridge Magazine/1R Gallery, Chicago, IL (in the collection of the Museum of Contemporary Art, Chicago)
Evanston Art Center, Evanston, IL
2002
16th Evanston + Vicinity Biennial 2002, Evanston Art Center, Evanston, IL
SPACES, Cleveland, OH
Urban Institute for Contemporary Arts, Grand Rapids, MI
Carry On’ Drawing, Rapid Transit Gallery, Savannah, GA
2001
Artists/Alumni, Mary and Leigh Block Museum, Northwestern University, Evanston, IL (catalogue)
Look; Paint, SPACES, Cleveland, OH
The Philadelphia Foundation, Philadelphia, PA
You Gotta Have Art, Evanston Art Center, Evanston, IL
Carry On’ Drawing, Artcore Gallery, Baroda, India and Jehangir Gallery, Sakshi, India
2000 Look; Paint, Beacon Street Gallery, Chicago, IL
6 Degrees, 2121 Walnut Street, Philadelphia, PA
2000
Evanston + Vicinity 15th Biennial Exhibition, Evanston Art Center, Evanston, IL
Midway Airport Walkway Project, Midway Airport, Chicago, IL
1,000 Drawings, Artists Space, New York, NY
Art in Christian Communities, Garrett Evangelical Theological Seminary, Evanston, IL
MEMBERSHIPS AND AFFILIATIONS
Western Kentucky University, Instructor, Department of Art, August 2013–December 2017; August 2021–present
Frist Art Museum, Artist Mentor and Teaching Artist, 2017–present
Cheekwood Estate & Gardens, Teaching Artist, 2018–present
COOP Gallery, President (2022–) and Member, 2020–present
Nashville School of The Arts, Art Teacher, January 2022–May 2022
Nashville State Community College, Lecturer, August 2019–May 2020
Turnip Green Creative Reuse, Teaching Artist, 2016–2019
Zg Gallery, Chicago, IL, Artist, June 2005–Present (www.zggallery.com)
College Art Association, Member, 1995–Present
Intellectual Property Committee, Dec. 2006–Feb. 2010 (three year term)
American Association of Picture Professionals (ASPP), Member, May 2007–May 2012
COLLECTIONS
Museum of Contemporary Art, Chicago, IL
Midway Airport, Chicago, IL
TEACHING
2023– Art Teacher, Warren County Public Schools, Drakes Creek Middle School, Bowling Green, KY
2012–2017 Instructor: Western Kentucky University
2021– Drawing 1, Drawing 3, Drawing 4, Two-Dimensional Design, Digital Photography, Galleries, Art Appreciation, Screen Printing all levels, Art for Elementary Education
2018– Teaching Artist: Cheekwood Estate and Gardens
Summer Camp Instructor; Art Outreach Teacher in underserved elementary schools
2023– Art Teacher, Briarwood Elementary and Cumberland Trace Elementary
2017– Artist Mentor and Teaching Artist: Frist Art Museum
Workshops for all ages, all abilities: Screen Printing , Sculpture, Drawing
Artist Mentor: Mentoring K–12 art teachers within Title I Metro Nashville Public Schools; lesson writing; model teaching, art making; Department of Education Grant
2022–2022 Visual Arts Teacher: Nashville School of The Arts. Art 1, Art 2, Painting and Drawing
2018–2021 Educational Coach: FUSION Home School Tutorial. K–12 Art and Human Geography classes
2019–2020 Instructor: Nashville State Community College. Introduction to Art
2016–2019 Teaching Artist: Turnip Green Creative Reuse Workshops at Nashville Public Libraries, Southern Festival of Books, OZ Arts Nashville, Art clubs: Metro Nashville Public Schools
2002 Lecturer: DePaul University. Two-Dimensional Design
1997 Lecturer: Northwestern University. Drawing
RELEVANT GALLERY, MUSEUM, AND ARTIST RESIDENCY EXPERIENCE
2020– Member and President (2022–), COOP Gallery
Grant writing, press release writing, exhibition curation and installation, artist lectures, press releases, social media and communications, administrative oversite of committees, event planning
2017– Artist and Teaching Artist: Frist Art Museum
Creation and installation of Favorite Things, a community artwork with over 1,000 participants, work created during workshops; in support of Nick Cave’s exhibition Frist Fridays: collaborative installation with musicians, ELEL: we installed art and music throughout the museum for an evening of interactive art and music
2017–2019 Gallery Committee: Turnip Green Creative Reuse
Exhibition curation and installation at two gallery locations; artist liaison, gallery sales, social media, scheduling; opening reception events; exhibition workshops; artist contracts
2012–2017 Gallery Director Sabbatical Replacement: Western Kentucky University
Exhibition scheduling and installation; BFA and BA exhibition installation and student support; press releases; social media; artists’ contracts; visiting artist representative and scheduling of lectures and workshops; Data Asset Management database oversight; cleaning/rescuing permanent collection which was infected with black mold due to a water leak within the storage facilities (this included consulting with museum restoration experts for restoration recommendations, documenting and photographing pre-cleaning state and post-cleaning state of artworks, oversight in artwork cleaning).
2018 Family Day Lead Artist: OZ Arts Nashville
Artwork creation and installation throughout OZ Arts’ building and grounds; collaboration with ELEL, who created improve music for event; artworks and art activities inspired by STEAM, focusing on Tennessee’s earth, water, and air natural resources.
2005– Artist-in-Residence and Instructor: Ragdale Foundation, Lake Forest, IL
Artist-in-Residence: seven times
Instructor: Partnership with Western Kentucky University’s Study Away program, leading students in art creation for an interactive art and performance event within Ragdale’s buildings and on its grounds
Artist for interactive arts and performance fundraising installations: created artworks for each year’s open house and fundraising events within Ragdale’s facilities and grounds.
2005– Artist: Zg Gallery, Chicago, IL
RELEVANT PROFESSIONAL PUBLISHING EXPERIENCE
2020–2022 Contributor, “ARTnews Recommends,” ARTnews
2010– Intellectual Property Resources Researcher: Freelance Photo Researcher, Art Researcher, Art Asset Management, Graphic Design.
Clients: Houghton Mifflin Harcourt, Cengage Learning, Sadlier, Symmetry
Titles: Read 180, Houghton Mifflin Harcourt Literature, African American Literature, World Literature, iRead, HMH Spelling
2002–2010 Literature Lead and Photo Researcher: Houghton Mifflin Harcourt, Evanston, IL
Literature and Language Arts Educational Materials: Lead Photo Manager, Photo Researcher, Art Buyer, Graphic Design, Photographer, Illustrator
BIBLIOGRAPHY
2024
Wesley Roden, "Interview: Beth Reitmeyer," Locate Arts, March 8, 2024. www.locatearts.org.
2022
Katie Delmez, “Art of the South,” Number: Inc., Fall 2022, p. 19.
Kimberly Phillips, "Outdoor Sculpture Exhibit, Open Air 2022, Intends to Spark Conversation at Avery Point," UConn Today, August 16, 2022. today.uconn.edu.
Aisling Mäki , “Visual Arts and Medical Science Merge at Crosstown’s ‘Art of Science’,” Daily Memphian, October 8, 2022. dailymemphian.com.
Joe Nolan, “A New Gallery and New Members Bring Familiar Faces to Coop’s Latest Exhibition,” Nashville Scene, February 17, 2022, www.nashvillescene.com.
Shea Carter, "Artists 'let light shine' at CAM's annual lantern exhibition, Port City Daily, December 2, 2022. portcitydaily.com.
Joe Nolan, “Winter Arts Scene 2022: Visual Arts,” Nashville Scene, January 13, 2022, p. 12, www.nashvillescene.com.
"My Faith and Work Story: Beth Reitmeyer," Nashville Institute of Faith and Works, October 11, 2022.
2021
Joe Nolan, “Crawl Space: September 2021,” Nashville Scene, September 2, 2021, www.nashvillescene.com.
Joe Nolan, “Crawl Space: August 2021,” Nashville Scene, August 5, 2021, www.nashvillescene.com.
2020
“A Round of Metro Arts THRIVE Awards Uplifts Nashvillians Sheltering in Place,” Nashville Scene, May 21, 2020. www.nashvillescene.com.
"In the Studio with Nfocus: Beth Reitmeyer," Nfocus Magazine, October 2020, p.38. www.nfocusnashville.com/magazine.
"Interview with Beth Reitmeyer," Mineral House Media, November 2020, www.mineralhousemedia.com.
"Episode 14 with Beth Reitmeyer," The Art of Outreach podcast, November 2020, play.spotify.com.
2019
“An Artful Harvest,” Northwestern Magazine, Fall 2019, p. 47.
Will Perkins, “Internationally Known Artist Visits GMS, Collaborates with Students, “Glasgow Daily Times, April 12, 2019. www.glasgowdailytimes.com/news/
Aaron Mudd, “Glasgow Middle School to Host Nashville Artist Known for Colorful Sculptures,” Bowling Green Daily News, April 5, 2019. www.bgdailynews.com/news/
Jessica Pasley, “’Kids in Nashville’ fashion show unites local artists and Children’s Hospital patients,” VUMC Voice, April 8, 2019, voice.vumc.org/
2018
Amy Stumpfl, “Art + Science: Family Day Blends Art, Science,” The Tennessean, August 12, 2018, pp. 1E, 4E.
2016
Sara Estes, “OZ Art Fest a Weeklong Celebration of the Visual Arts,” The Tennessean, June 21, 2016.
Nina Cardona, “Labyrinth of Gallery ‘Pods’ Invites OZ Arts Fest Visitors to Step Inside the Art,” Here and Now, 90.3 WPLN FM Nashville, June 22, 2016.
“OZ Art Fest – Modular Art Pods,” Locate Arts, June 2016.
2015
Elizabeth Michelman, “The Perils of the Possible: We Are All Curators Now!,” Artscope, January/February 2015, pp. 34–35.
Andri Alexandrou, “You Can Take It With You,” SeedSpace: On Exhibition, Summer 2015.
2012
Myrna Petlicki, “Retreat to Lake Forest’s Ragdale for Inspiration,” Chicago Sun-Times, June 1, 2012,
2010
Jake Jarvi, “House, Dreaming: Artists Interpretations of the Ragdale House, Asleep,” Sheridan Road, Vol. 4, Issue 5, www.sheridanroadmagazine.com.
2008
Beth Reitmeyer, 2008: Zg Gallery.
Gigi Leonard, “Beth Reitmeyer: Art and Paintings,” Roadside Scholar, July 14, 2008
2006
Victor M. Cassidy, “Up and Comers,” The New York Times, Winter 2006, Chicago Life, pp. 18–19.
Jenn Q. Goddu, “Reitmeyer gets to the hearts of the matter,” Chicago Tribune, Feb. 10, 2006, Friday On the Town section, p. 17.
Fred Camper, “She’s a Believer,” Chicago Reader, Feb. 10, 2006, Section 2, pp. 1, 24.
Alan G. Artner, “Art: Highlights of the Fair,” Chicago Tribune, Apr. 29, 2006, Weekend section, p. 3.
“Eat Outings,” Time Out Chicago, June 15¬–22, 2006, Issue No. 68, p. 30.
Margaret Hawkins, “From bleak to chic in less than a week,” Chicago Sun-Times, May 2, 2006, www.chicagored streak.com.
“Indepth Art News: With Love, Beth Reitmeyer: New Paintings & Interactive & Evolving Installation,” Feb. 2006, www.absolutearts.com.
Mindy Yahr, “Works of heart,” The Daily Northwestern, Feb. 9, 2006, p.10.
2005
Margaret Hawkins, “Reitmeyer’s ‘Sunshine’ lights up colorful Zg show,” Chicago Sun-Times, August 19, 2005, Weekend section p. 14.
Recommends, Chicago Reader, August 5, 2005.
2003
New American Paintings, Volume 47, The Open Studios Press.
Laura Berman, “Unnatural Materials,” Review, September 2003, pp. 60–65.
Maria Elena Buszek, “Demystifying Machines,” Review, Summer 2003, p. 93.
Robin Trafton, “Arts shows: Working together, artists clearly have fun,” The Kansas City Star, April 25, 2003, Arts Section.
2002
Fred Camper, “Rooms with a View,” Chicago Reader, June 7, 2002, Section 1, pp. 30–31.
Ellen Pritsker, “Biennial exhibit a lively show,” Evanston Review/Pioneer Press, June 20, 2002, p. B4.
“Recommend,” New Art Examiner, May–June 2002, p. 23.
Walter Robinson, “Chicago Diary,” www.artnet.com, May 14, 2002,
2001
James Yood and William Conger, Artists/Alumni, 2001: The Mary and Leigh Block Museum of Art, Northwestern University, cover and pp. 70–71.
Dan Tranberg, “Abstract painters make the medium their own,” The Plain Dealer, November 26, 2001, Arts & Life section.
Concentrics, Evanston Art Center, May/June/July 2001, pp. 3, 5–7.
2000
Kathy Jo Robbert, "Installation works at UICA to tickle the art-lover's fancy," Grand Rapids Advance, December 12, 2000, Section B, p. 2.
1999
Mary Ellen Sullivan, Cows on Parade in Chicago, 1999: NeptunArt, pp. 154, 175.
1998
Michelle Grabner, "1998: New Artists in Chicago," New Art Examiner, October 1998, p. 45.
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LOCATE Arts.org INTERVIEW: BETH REITMEYER
MAR. 08, 2024
Wesley Roden: Though many artists seek to emulate childlikeness in their work, your sculptures stand apart by appealing specifically to children. How is sculpture serving a role in artistic literacy as well as general development for a younger generation?
Beth Reitmeyer: I want the world to be a magical place, a place in which we all experience wonder and awe. As I consider my audience, I don’t set out to appeal specifically to children, but often they are the quickest to embrace the wonder of an art experience. For example, they are amazed when they mix yellow and blue paint together and discover, for the first time, that they made green. I want my work to be universal, and what appeals to children appeals to adults, too — the adults need an invitation and a nudge to engage. My work often incorporates ideas of beauty, what we value, and why. To children, glitter and pipe cleaners are some of the most beautiful things in the world, but as adults we view them as cheap and annoying. I teach art to children and adults, and one of my goals is for people to have fun and joy as they make and engage with art. Art shouldn’t only show struggle and tragedy and pain. Contemporary life is difficult, serious, and divisive, but it is also joyous and meaningful — we need art to bring joy, engagement, and community. Children want to touch objects and play with them. Adults do, too. My art objects are created so that people can touch and handle them, have meaningful conversations, and find joy without shame.
WR: Having work that is both whimsical and conceptually robust, have you been afforded a unique position to either introduce play into a fine art setting or add to the existing conversation? How do you present your work to adults looking to have that child-likeness rekindled?
BR: The art objects themselves are inviting and nonthreatening. People are curious. They want connection. I am part of the work as much as possible, inviting people to make a wish or write on an orb. People want to know how to engage with the work, and a person with an invitation is more compelling than a block of text on a wall. I invite everyone, even the person who, on the surface, appears to be the least likely person to engage with the work. This past year I invited people to make wishes on stars. I joke that 12-year-old girls are the people who understand my artwork first, but this year has challenged my thinking on this. In New York, I invited an older, affluent Wall Street-type of businessman to make a wish. He looked at me and told me, “I really want to make a wish.” And later, “thank you — I needed this right now.” In Fayetteville, AR, I invited a group of five rough guys covered in tattoos who were walking through the park to make wishes. They shrugged and said, “Why not?” They took their time to write out their wishes, thanking me as they walked away. Everyone wants to connect and to be heard, not only children. Everyone needs hope.
Beth Reitmeyer, Storm and Wishing Stars, Dream House, 2022, mixed media, in collaboration with Be Witched and Kindling Arts, Ozari, Nashville, TN
WR: Your work, particularly your Geodes, seems to deal in tactile reversal. By depicting a thing as hard as rock using soft and inviting materials, do you paint nature in a more precious or welcoming light? If so, what are some more ways that you take the edge off of your subject through subversion of material?
BR: There are two kinds of people in the world: those with rocks in their pockets and those without rocks in their pockets. I have a collection of real rocks, and I share those with people, too. Most of them are in my car and travel around with me. I pick up rocks because they are everywhere, they are free, and I am able to assign meaning to them. My rocks are talismans to the experience I had when I picked them up, a reminder of the experience and the people I was with at the time I picked up the rock. I’ve connected with so many people by talking about our real rocks.
My geodes were created in collaboration with the band, ELEL. They have a song and album with music about how relationships are formed within a specific place. For the band, it came when crossing the border to New Mexico and discovering a geode there. The geode became a magical moment to cement a relationship. My geodes, along with ELEL’s music, create a memorable experience for people within a time and place. My geodes are now in homes across the country, each one has its meaning assigned by its owner and is a talisman of their initial experience with them. In that way the geodes function as rocks within a collection, as talismans and memories of a specific shared experience.
My geodes aren’t particularly soft in reality — the pipe cleaners are prickly and the plastics are smooth yet firm. They are engaging and inspire curiosity, and people want to touch them. This makes me happy.
Beth Reitmeyer, Wishing Stars with Geodes, 2023, mixed media installation, ChaSaMa Rama, ChaSaMa, New York, NY
WR: Your work seems to often ignore the “do not touch rule,” welcoming squishing and holding. What role does tactility play in making the work personal to the viewer? Is there a need not only for a visual but also a multi-sensory approach to both communication and education?
BR: When my niece was five, we went to the art museum. She was fascinated by the sparkly “do not cross” silver line in front of the artwork. She crossed it, and then she was told by a guard, in a firm tone, she was too close and to step back. She cried. “Why is the line so beautiful if I can’t touch it?” This event resonated to me the importance of creating art that people can touch and interact with.
The pandemic has also heightened our need for touch. My college students are carrying stuffed animals with them to class, relying upon them for comfort when stressed. The pandemic revealed our need for tactile, comforting experiences. It normalized our need for tactile experiences.
I also believe that art that engages as many of our five senses as possible resonates more with the audience. To this end, when I create my installations, I strive to incorporate sight, touch, sound, taste, and smell as much as possible. The visual only is not as impactful as incorporating another sense. Incorporating the five senses acknowledges that we all inhabit
a physical body that functions and helps us understand the world.
WR: Though featured most heavily in works such as Sunshine Makes Me Happy, patterns appear throughout your body of work. By likening patterns found in nature to those found in bedsheets or at home, how do you blur what exists in nature with the crafted?
BR: Pattern was crucial in my early paintings, and often the patterns undulated. We experience life as a combination of structure and undulation, that while we yearn for change, structure gives us stability. The cyclical nature of time shows structure (days, weeks, months, seasons), and as we experience these over and over, no two days are the same. Nature is also rich with patterns, with cells and animals and plants which are the same but slightly different.
My pattern paintings and installation work is an outgrowth of second wave feminist artists from the 1970s who embraced the home as a location for artwork. Artists such as Miriam Shapiro, Joyce Kozloff, Howardina Pindell, Yayoi Kusama, and Judy Chicago showed me how to use patterns to create a sense of place, first centered on home and then within nature. Contemporary artists such as Liza Lou, Michelle Grabner, Pipilotti Rist, Lily van der Stokker, and Polly Apfelbaum showed me how to create welcoming space centered on and elevating comforting, whimsical places. Home and nature are democratic, everyday sites that we all experience. They are not privileged sites such as museums and galleries. Everyday sites should not be mundane but made special.
WR: As opposed to the traditional white space and fluorescent lighting, how does immersive placement and use of neon and string-lighting alter the reading of the work? How does a sculpture’s presentation invite curiosity, establish a mood, or even welcome a journey?
BR: One of my professors in college told us that people look at art 30 seconds or less; he challenged us to figure out a way to extend the time of viewing as long as possible. My strategy is to create installations in which the viewer is immersed, that if they turn away from the art they are turning towards another part of it. I also identified locations where people sit and stare at a place, such as bathroom walls or corners where people talk on the phone. I put art where they are already looking.
Sculpture, as it grows in scale, becomes architecture. Sculpture is created to inhabit specific spaces created for it. Architecture has its purpose assigned before its design: it’s a home, office, school, library, museum, etc. Looking forward to the future, my dream is to design architectural spaces that are designed for specific themes and ideas, aligned with sculptural concerns but on a larger scale.
From James Turrell I have learned that light creates a physical response within our bodies. We respond in a physical and emotional way. Recently I experienced one of his lighted rooms at MASS MoCA. I felt overwhelmingly happy when the light shifted from blues to pinks. I sensed the light shifting within my head, within my eyes as they physically adjusted and worked to process the waves of colored light. I am aware that sculpture, architecture, and three-dimensional space impact our physical bodies first, directing us to assign meaning. As an artist, I can support the viewers / audience as they engage with the work by how it is designed.
Often I am present, adjusting the work as people engage with it, to make it more effective. Watching people interact with art is one of my best teachers.
My architectural structures are designed to go almost anywhere. People don’t need to come to a museum or gallery to see the work. They can come to their local park or school to experience it.
Beth Reitmeyer, Elemental, 2022 - 2023, painted plastics, iridescent films, LED lights, 5” diameter each, Artville, Nashville, TN, created at ChaNorth and the Golden Foundation, with support from Artville
WR: Do your works such as Wishing Stars or Obstacle Balloons distinguish themselves from typical soft-sculptures in their participatory aspects? How does personal interaction further cement the themes afforded through soft sculpture, and how does the experience then transcend the object itself?
BR: As humans, we inhabit bodies in three-dimensional space. We experience the world through our bodies. Our schools and our screens teach us that we are heads on sticks, that our thoughts and perceptions are reality. Installation gives people the opportunity to choose and to experience, engaging in (or not) a world of objects and bodies.
The viewers complete the work by participating. The work is a culmination of experience and interactions, a reflection of community. Asking people to participate also allows for people to interact in a shared experience which is the foundation for friendship. People who don’t know each other don’t naturally strike up conversations; the installations give a place and activity for people to naturally talk with one another.
Beth Reitmeyer, Elemental, 2022 - 2023, painted plastics, iridescent films, LED lights, 5” diameter each, Artville, Nashville, TN, created at ChaNorth and the Golden Foundation, with support from Artville
WR: The work, Rejuvenation, stands apart by blending natural with synthetic materials. Is this a deliberate departure from the works made exclusively with textiles or a natural progression? How can introducing crafted materials to existing ones, such as fabric to wood, be subversive, and do you plan to keep incorporating a variety of materials for this or other reasons?
BR: My work is about placemaking, about creating spaces for people to spend time in and get to know people in. Rejuvenation was created at ChaNorth and at the Golden Foundation in New York. The stumps were part of a tree that was cut down on the grounds at ChaNorth, and the residency planned on using them for people to sit on during outdoor performances and events. I got permission to paint them and consulted with Golden to determine the best way to paint the stumps for long term use. Golden provided the paint. One stump is currently at Golden, the other three are at ChaNorth. The three at ChaNorth are set up on a porch, for people to make tea and have conversations.
The materials are chosen as the ones to best represent the place and the experience I am crafting with each installation or object. I think more in terms of tactile and/or beauty than natural and synthetic. I have also taught summer art camp at Cheekwood Estates and Gardens, so I have an appreciation for the work involved with creating beautiful, curated gardens. The line between synthetic and natural is not a well delineated one.
I reuse and recycle materials when possible. Most of the fabrics within my work are given to me or from reuse art centers and friends. The materials are specific to the work but as environmentally friendly as possible without being overtly reused materials.
Beth Reitmeyer, Rejuvenation, 2022, mixed media installation, Upstate Art Weekend, ChaNorth, Pine Plains, NY, with support from the Sam and Adele Golden Art Foundation
WR: Has working in the South allowed new connections between the work and environment either in terms of the area’s geography, community, or history of craft? Moreover, what aspects of the works have remained constant regardless of external influence?
BR: Working in the South is very inspiring. I have made caves and sinkholes, which are prevalent in southern Kentucky. I have also created my own version of the Cumberland River, a meandering glowing river that people can crawl into. I lived in Madison, TN outside of Nashville for five years, and I walked in nearby Peeler Park several times per week over those five years. The park on its surface is fairly boring, full of grass and trees. It is located on the banks of the Cumberland River, but the river is difficult to see for the trees. But it is full of deer and turkeys and frogs. I loved watching the seasons change, of watching the clouds move across the sky. Meditative Walk Lanterns are inspired by these walks; additional Lanterns have been added inspired on walks in New York, Connecticut, and Arkansas.
Craft is important in that time is spent on creating the objects. People can tell the sculptures took time to make, and this time shows a high level of care within the creation of the work. It matters to me. Living in an area with a fine craft background has shown me that my objects are not as finely crafted as they could be. My stitches are small enough and my woodworking skills have room for improvement.
WR: Does your art retain a connection to the Nashville art scene now that you also call Kentucky home?
BR: I spend a lot of time in both Kentucky and Tennessee. I currently live in southern Kentucky, 20 miles north of the border with Tennessee and one hour north of Nashville. I am very much connected to both states, creating art and teaching in both places. When I lived in Nashville, I taught in Kentucky several days a week. Currently I am president of COOP Gallery in Nashville, and I am committed to the artistic flourishing of the city. Nashville’s visual arts scene is rebuilding post-pandemic, and it is exciting to be a part of fostering the growth of its culture while investing in emerging artists.
WR: You credit your mother for teaching you sewing and her love of glitter. What is the relationship between object making and familial lineage, and does your art provide craft as an answer to facilitating family bonds?
BR: This is a challenging question. We grew up poor, and we only got one new toy on our birthdays and three toys at Christmas. My mother taught me to sew, and I made stuffed animals based upon patterns within Better Homes and Gardens magazine. She also loved to craft, so I think making weird stuff was a way we could spend time together. My mother came from a dysfunctional family who didn’t pass on traditions and skills. But she knew how to sew. I think she learned from her grandmother, who she lived with for years. She insisted that antique black Singer sewing machines were the best, and I have two that made their way to me. They are from the 1920s, and I hesitate to use them for fear of burning out the motors. My mother also passed away from cancer 20 years ago, so sewing and crafting is one way to carry on her legacy.
Most of the rest of my family are scientists and salespeople. They do not fully understand what being an artist and creating artwork involves, but they are proud of me and come to my exhibitions.
WR: How does employing materials found in a familial or domestic context comment on your choice to depict nature? Do notions of “hand me downs” or inherited sheets and blankets comment on how we enjoy natural resources in regards to previous, current, and new generations?
BR: What do we value? What do we treasure? Do we have what we need? The materials and settings reveal that the everyday is special, that we can be content where we are. Everything does not need to be brand new. The materials and settings can be rejuvenated, refreshed, and regenerated. Time and care create objects that last, that don’t fall apart quickly. You, too, can create new things from the items around your home and from the land that surrounds you.
WR: What relationship does the work present between dreams and optimism? By depicting the surroundings we take for granted in otherworldly quality, do your installations ever provide a new perspective or even hope for what’s possible? How does installation become a space to renew a positive outlook?
BR: My installations are designed to foster hope and love. Dreams and optimism fuel both of these. And I truly want to know what people’s hopes and dreams are. Working together, within the community, we can transform our hopes and dreams into reality. We do not live in a vacuum and need help. My installations give people space to dream about what is possible — in a positive way — all while acknowledging challenges. New perspectives help us look at our world in an optimistic way, which can make all of the difference. Talking about our hopes and dreams and challenges with our neighbors builds relationships and community.
Beth Reitmeyer, Meditative Walk and For There Will Always Be Light, 2022, mixed media, Open Air, 2022, UConn Avery Point, 2022
Beth Reitmeyer is a visual artist primarily based in Nashville, TN. Her current installations are based upon landscape topography and geology, specifically sinkholes, caves, geodes, and rocks. Her work investigates how experiencing the glories of a place impact our sense of being, perception, and relationships with other people. Beth's work has recently been exhibited at the Frist Art Museum, Nashville; OZ Arts, Nashville; The Elizabeth Foundation, New York; Seed Space, Nashville; Zg Gallery, Chicago; Ground Floor Gallery, Brooklyn; BOX13 ArtSpace, Houston; goldenPARACHUTES, Berlin. Beth has been an artist-in-residence at The Studios at MASS MoCA, North Adams, MA and The Ragdale Foundation, Lake Forest, IL.
Wesley Roden is the Gallery Assistant at Tri-Star Arts and recently received a BFA in Painting from the University of Tennessee, Knoxville in 2023. Based in Knoxville, he currently works in digital and mixed media in a continually evolving practice.
* images courtesy of the artist
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In the Studio With Nfocus: Beth Reitmeyer
The visual artist opens up about her creative installations, finding time to make art and what's next
Oct 1, 2020
What have you been working on during lockdown? I have been obsessed with clouds. Before the lockdown, I started working on Thunderstorm, a group of cloud sculptures that pulse. With Thunderstorm, I have been thinking about the hardships but beauty in life, how in the midst of the storms there is still hope. I was also playing with the idea of a giant cloud that people can enter to see a silver lining. That part I’ve put on hold — people are exhausted and it’s too much to think about the silver lining of 2020 right now. But I continue to slowly create the clouds, stitching them in moments throughout the day, as I take breaks from my other work.
When you’re feeling unmotivated or uncreative, what do you do? I take a break, take a walk, stare at the wall for an hour (or longer). I remind myself that each new day is a new day. If yesterday was hard, maybe today will be better so let’s see. I talk to friends who set my thinking straight. And sometimes I just suck it up and make myself work on stuff.
What has been the biggest challenge of quarantine as it relates to your art? Paying gigs are unstable; I am fortunate to have more than enough paying work, but it can be draining. The biggest challenge is having days where I feel like I’m working and living through exhaustion. I worry about the safety of my students.
How, if at all, has your creative process or routine changed? I have fewer full days of working only on art, so now I try to sprinkle art-making throughout the day, while I work on gig work. I’ll send an email, and then sew. I’ll teach a Zoom class, and then paint some plastic. My days never look the same, which was true before COVID. So I try to make goals for the day and then work on them, all while taking art-making breaks.
What have you missed the most during quarantine? I have missed seeing friends and family. I miss seeing live music. I miss going to art openings and events.
What are you working on next? Clouds. Cloudy skies are on my horizon, haha!
