Bergeron, who lives behind her gallery, was on a birthday trip when a suicide bomber detonated his RV about half a block from her building on the morning of December 25.
If she hadn’t delayed her flight back home at the last minute, based on a gut feeling, she would have been at the gallery at the time of the explosion.
“I can’t explain it, but my instinct just told me ‘don’t go home,'” Bergeron told Hyperallergic in a phone conversation. “I was ready to fly back to Nashville, but I followed my intuition.”
The massive explosion quaked downtown Nashville, injuring at least eight people and damaging more than 40 buildings. The bomber was later identified as Anthony Quinn Warner, a 63-year-old man from Antioch, Tennessee. He died in the blast; his motivation remains unknown.
Bergeron had to wait for five days until she was allowed access to her home gallery, as police cordoned off the area during the investigation. When she returned to the space, she found that the gallery’s windows were shattered and its internal walls had caved and cracked. The floor was covered with dust, bricks, fallen light fixtures, and shards of glass.
“It looked like a war zone,” Bergeron said. “A lot of artworks were thrown off the walls,” she added, noting that one painting was thrust to the other side of the room.
Bergeron is still assessing the damage to the artworks, which seem to have mostly survived the blast, except for one painting by Nashville-based Kristin Llamas, which was ripped by glass shards.
“This was my favorite show of the ones I’ve had,” Bergeron said. “I finally felt like I figured it out.”
The explosion also destroyed a public art installation at an AT&T facility next to where the bomber parked his vehicle. The 2018 project, organized by Bergeron in collaboration with the telecommunications company and other local arts organizations (Nashville Downtown Partnership, The DISTRICT, and Nashville Metro Arts Commission) featured large-scale artworks by eight local women on the building’s windows. Each artist represented a different area of the city.
Almost two weeks after the explosion, Bergeron still lives in a hotel while working to repair her gallery. She says that it will take months until she can open again.
“This place has brought me so much joy,” she said. “I’m not in shock anymore. I’m not even sad or angry. I’m focused on cleaning up, repairing, and eventually opening again with a new perspective.”
“Our bodies are not that cheap,” said one Iraqi artist who signed an open letter to the biennale’s curators.
Museums will have to install “prominently placed” placards alongside the works, according to a new suite of laws signed by Governor Kathy Hochul.
Choose from over 140 courses for adults and youth ages 13 to 17, including options for beginning, intermediate, and advanced students. Enroll by August 23 for an early bird discount.
Scientists borrowed the ecological “unseen species” model to estimate how many works of medieval European literature have gone extinct.
As bodily autonomy and workers’ rights remain under constant and often intertwined threat, The Work of Love, the Queer of Labor reminds us of what is still at stake.
The Brooklyn organization is now accepting new project inquiries for its fee-based fabrication services in printmaking, ceramics, and large-scale public art.
The emphasis in Semmel’s retrospective Skin in the Game is on the various points of view she has taken on herself — and, briefly, on others too.
The artist and former SWAIA chief operating officer and executive director has found a stable of dedicated collectors and a close-knit community at Santa Fe Indian Market.
The Newark Museum of Art Presents Jazz Greats: Classic Photographs from the Bank of America Collection
Photographers Antony Armstrong Jones, Milt Hinton, Chuck Stewart, Barbara Morgan, and more capture a breadth of legendary and local musicians and performance artists. On view through August 21.
Each voice in This Long Thread intersects to reveal the collective chronicles, struggles, and triumphs of women of color in today’s craft landscape.
Works by the Abeyta family of artists encourage thinking beyond activism and legislation as a means for political progress.
Despite faithfully recreating the story of the beloved comic book series, the TV show lacks the verve of the original.