I wanted to call this blog post Lipps, Inc., but that’s an actual thing. Every once in a while I have to write about one of those murals that is in a billion Instagram posts, and everyone has seen, so it’s news to no one, and this is one of those times. The motto of the blog is “No art left behind” after all, and I am trying to catalog everything. This is yet another Eastside Murals piece, the versatile team that has been signing their work “Out East Boys” for a while. The design is by Donald Robertson, which explains the “Donald” written on the edge of the mural. On his Instagram page, you can see that while he doesn’t just do lips, they are a major theme in his work. Also, the “Donald” on the mural looks like his regular signature for his works, so I imagine he did that part himself.
I photographed this mural on one of the first days of Nashville’s shutdown when there were still a few tourists around. Two women were taking their pictures in front of it and thought I was trying to do the same thing. They wanted me to give them my phone so they could take my picture in front of it for me. I politely declined, and at this point in time, I still would.
Located at 1814 21st Avenue South. The mural faces an alley on the north side of the building, across from Fido. This is Hillsboro Village, so a fair amount of parking, almost none of it free. In non-COVID times, parking at peak hours can be very hard.
On this Memorial Day, a flag. Not just any flag, but the flag that adorns the facade of The Villager Tavern in Hillsboro Village. The Villager is one of the last holdouts against the gentrification of Hillsboro Village. The smokey bar with dartboards and the pictures of patrons plastering the walls has been in place since 1973. I don’t know who painted the flag originally, but it had gotten in pretty sad shape. I do know however that it was recently restored by Eastside Murals. You can also tell from the photo I linked to that it wasn’t always blocked by a pedestrian crossing sign, but pedestrian deaths in Nashville are a problem, so I’m fine with the sign.
I hope that everyone had a good Memorial Day. Always remember our fallen.
Located at 1719 21st Avenue South. There’s plenty of parking in Hillsboro Village, but almost none of it is free.
The best view of the We Are Nashville installation at 916 Main Street is where the Holleman Transmission building used to stand. It was taken down by bulldozers, in preparation for new development. But the photographic mural features the staff of the local fashion line Molly Green, whose Main Street branch once stood next door to Holleman, and which was almost completely destroyed by the March 3 tornado. We Are Nashville is an anonymous collaborative that for the last two years has been documenting who Nashville is today. They have begun to put up wheat-paste installations of the resulting photographs, with QR codes that lead to their website where you can learn the stories behind the images. The start of their campaign to present these photos and stories to the city coincided with the tornado and its aftermath, so it makes sense that some of the early installations are about the people and stories of the storm.
In the center and the far left, we see the people of Molly Green, standing in the ruins of their Main Street store.
If you were to stand where the photographer stood now, you would see the mural to your direct right, as the Molly Green building has been leveled.
The left side of the mural includes a closeup portrait of Molly Green staffer Heather Johns, but it’s mostly is a portrait of ten-year-old London outside her great-grandfather’s home, David Young Sr. Parts of the home date back to 1870, and if you click on the Donelson story above you’ll see it was more damaged than it appears in this photo.
A little ways away, about where I stood when I took the photo at the bottom of this post, there are three smaller portraits of Molly Green staffers. They are on the backside of Attaboy. The only deaths recorded in Davidson County from the March 3 storm were of two people who left Attaboy just as the tornado was approaching.
These are obviously all temporary. Wheat-paste murals don’t tend to have a long shelf life. Like the recent also temporary installation at Jerry’s Artarama a few blocks away, they both memorialize the damage suffered from the storm as well as highlight the strength of Nashville as a community. There is something else about them that speaks to the temporary nature of all art. Just below the four portraits above stands the only remaining fragment of the largest work of art destroyed by the March 3 storm, the wrap-around mural by Eastside Murals that once covered all of Molly Green.
This particular wall at the corner of Dallas and 12th in the 12 South district has seen a series of murals that Eastside Murals has played a role in. The mural promoting the American Heart Association’s “Nashville at Heart” campaign that I featured in Last year’s heartthrob was their work, as was the mural that followed – which I never blogged about. Oops – search for “#peacelovegooddeeds” on Instagram – you’ll find lots of pictures of it. This one they helped on, but it isn’t their design. The designer and main artist is Austin artist Emily Eisenhart. That it’s her design is pretty obvious from a quick look at her Instagram page. You’ll note the main theme seems to be people wearing blue pants. The mural sits on the side of a building currently occupied by one of the Nashville branches of Madewell, a clothing store that specializes in denim. Eisenhart also did a muralfor Madewellin the Williamsburg district of Brooklyn, in the same signature style. The Nashville mural also had a community component. Students from Pearl-Cohn, an entertainment magnet school, came out one day last March when the mural went in and helped paint it. This is probably why under the word “Madewell,” it reads “Created in support of music and art programs in Metro Nashville’s public schools.” On Eisenhart’s Instagram page, you can find several postsabouttheproduction of thismural.
Located at 2709 12th Avenue South. The mural faces south, towards Dallas Avenue. There is paid parking nearby, and street parking if you are willing to walk a bit. It’s fairly easy right now, but it will be harder when the pandemic ends and the tourists come back.
In Nashville, and communities to the east, homes and businesses have been shattered and destroyed, lives lost. Much of what has been broken will take months to rebuild, if ever. Families without homes, employees without paychecks. In the face of that, what’s a little art?
In the last few years, there has been a mural renaissance in Nashville, and it’s been my honor to chronicle it. Arguably, it really started in East Nashville over four years ago, with Chamber East doing much to cajole eastside businesses to take a chance on art. And many ultimately did, so many that the east side, from Fifth and Main to well up Gallatin Road, became the most art dense neighborhood in Nashville. Art is part of this neighborhood’s identity. So when a tornado plowed down Main and through Five Points and beyond very early Tuesday morning, it inevitably took a lot of art with it.
Other losses attracted fewer news cameras, but were still quite devastating. This pile of painted concrete blocks is all that’s left of the murals that once wrapped around Hunt Supply Co., a skateboard gear supplier whose building completely collapsed.
Before the storm, it looked like this:
Hunt Supply and Gold Electric Tattoo across the alley are something of neighborhood secrets. You need to know to walk up the alley behind Beyond the Edge to find them, or what’s left of them now. The front side of Gold Electric once had a really fun mural, now shattered in the wake of the storm.
I never blogged about it, nor learned the artist, because I was waiting to get a “clean” picture of the other Gold Electric mural, a memorial to founder Mike Fite. Employee cars were always parked in front of it. Sadly, on the night of the tornado, one was still there and was seriously damaged.
Not so secret was the “Do the Dew” mural by Eastside Murals on the old Family Dollar, just steps away from Gold Electric Tattoo. The building was probably slated for demolition and “mixed-use” development, but it was still a shock to see such a bright and colorful wall collapse, along with the rest of the building. Look close at the rubble and you can see a section of the mural.
The alley between Main and Woodland has also been for some time a place filled with art. Almost all of it is by the UH graffiti crew. It included well-madegraffiti tags, trippy caricatures, and even a surreal sky. The surreal sky, which I dubbed “Panda Sky,” had already been damaged by construction, but now just a slip of it is left. The hypnotic “Under Hypnosis,” of which the word “under” has collapsed, is by the artist Sterbo.
One of the most devastating losses is a work that first appeared on this blog in a piece called “A True Survivor.” No, it’s not a mural, but it’s still a work of art that has been part of the eastside’s image for decades. The Weiss Liquor sign crumbled in the storm and with it a lot of history.
Right behind this building is another piece I never got around to blogging about, in part because it had been partially painted over by another piece I’ve only tangentially blogged about, the giant concert mural by Jason Galaz on the back of Crying Wolf. A fence painted by someone who’s signature I never figured out was partially painted over with a list of concert performers by Galaz. Regardless, the fence collapsed.
A more total loss was a large piece of art about art. The facade of Jerry’s Aratama had been covered in art by Hannah Holgate and Marshall Hall, right down to the parking lot itself. The parking lot art is fine, including the signs, but the facade of the building collapsed, largely destroying the mural.
Two more total losses are found in the alley behind Smith and Lentz Brewing. There was a lovely, bizarre fence by Andee Rudloff and Max Grimm that belonged to the house behind Smith and Lentz. Only a single post remained when I checked on it Wednesday. And on the backside of Smith and Lentz was another Eastside Murals piece I never blogged about, I think because it didn’t seem too public behind the bar’s fence, now ripped down by the storm. You can see what it looked like intact on Eastside’s Instagram page.
The featured mural of the eagle at the start of this post is by Kim Radford and lies on the east wall of Elite Bonding. I never got around to writing about it because I was saving it for a patriotic holiday. (While it’s relatively intact, the work Radford did on the other side of the building is largely gone, the wall having collapsed. Here’s what the eagle looked like undamaged.) I suppose there’s a lesson to be learned about impermanence and not assuming everything will always be what you expect. Another example of this is the East Nashville “EN” murals, which are sponsored by Chamber East. I’ve never put one on the blog for some reason. The one by Troy Duff at Burger Up is intact, but given the state of the building, it’s hard to say if it will last.
Tuesday, after the storm, I had more visitors to this site than I’m used to. People wanted to know what it all used to look like, to see what had been lost, to remember what things that had been broken looked like when they were intact. If you want to help artists who have been hurt by the storm, start here. Here is a page with more general information about volunteering and donating for tornado relief.
East Nashville will rebuild, it will prosper, thought scars will remain. And I predict that Nashville’s artists will be in the thick of it.
Nestled in the alcove that forms the entrance to the Hyatt House Nashville at Vanderbilt (actually a couple blocks north of Vandy) is this large image (it’s around ten feet high). It looks for all the world like a viny LP record that is melting, dripping in thin streams of color down the panel. If you’re just walking down the street, it jumps out in stark contrast from the white wall behind it, as you can gather from the context shots below. A deconstructed vinyl record in rapidly developing Midtown seems appropriate, particularly since it is just a few steps away from the Rock Block, itself threatened by growth. It’s by Eastside Murals, with a discreet signature on the side. Instead of their more common way of working by painting directly on walls, this work is on a large wooden panel. The wall it sits on is alternately smooth and rough, and you can see from the picture of the signature below, the artists shaped the wood accordingly. Is it coincidence that the void in the middle is the perfect place to stand to get your picture taken?
Hotels frequently use art, sometimes on a grand scale, but I think a giant wooden panel painted by local artists on the outside of a hotel is a little unusual. It certainly fits with the theme that Nashville business, even corporate chains, see outdoor art as a necessary part of their business plan.
Located at 2100 Hayes Street. The mural is on the south side of the building facing Hayes, near the corner with 21st Avenue North. There is street parking on Hayes.
Usually, if I’m having trouble researching an artwork, it’s because I don’t know who the artist is. But the signature for Eastside Murals is very clear here. No, what took some digging was figuring out what Eastside’s client, Altru Creative, actually does. Check out that website. Music business, check! But what they do in the business isn’t all that clear, even if you read all their blog posts. However, their Facebook page is more helpful, as they’ve checked the categories Advertising Agency, Media Agency, and Music Production Studio on the “About” section. Those categories would seem to include promoting music shows and festivals while working primarily in the worlds of house, electronica, dance, hip-hop, and R&B. That triangle in the middle is their logo, and their name is tattoed on the DJ’s hand, so it seems this counts as a sign as well as a mural. It’s Nashville, so of course, there’s an image of the Batman Building, but also a crane with a wrecking ball, which is also very much a symbol of today’s Nashville.
Located at 1036 West Kirkland Avenue. The mural faces the road. There is a large gravel parking lot, and street parking is available.
Sometimes I report on new art, sometimes not. While not nearly as old as the art in my last post, this mural at The Cobra on Gallatin goes back to September 2016, and I posted about the larger mural on the side of the bar way back in April of last year (see below). Obviously, it’s by Eastside Murals. It continues the theme of skulls found in the mural on the side, but not the cobra or beer imagery. Here the skulls are complimented with abstract art. There is another mural altogether on the backside of the bar, one very different from the other two. Maybe I’ll post it before the end of 2020.
Located at 2511 Gallatin Road. As it faces Gallatin, your best bet for a good view is actually across the street, where there is a Walgreen’s with ample parking. The bar itself has plenty of parking, particularly early in the day when the bar is closed.
I have written many times on this blog about how national chains don’t do local art. They have their centralized branding, and that’s that. Good luck finding any local outdoor art anywhere near Rivergate Mall. It can, in fact, be done, but that example is on a local business. Lately, however, things are changing. Top Golf is a recent example, and of course, the local version of Cracker Barrel’s faux-local chain Holler & Dash has its mural. (Cracker Barrel recently bought Maple Street Biscuit Company and plans to rebrand all of its Holler & Dash sites, so that mural may be in danger.) But Kroger is not pretending to be local and is a much more traditional firm than Top Golf, so a big, giant, neighborhood-celebrating mural for its grand reopening done by local artists, Eastside Murals to be precise, is a significant development. I’ve noted that more and more local companies are seeing outdoor art as part of the cost of doing business in Nashville, and maybe now at least some of the big corporate firms are also beginning to get that message. I’ve also noted that art breeds art, and Main St/Gallatin Pike from 5th Street to Trinity Lane is one of the most art-dense neighborhoods in Nashville. The Eastland Kroger sits right in the middle of that stretch. This particular mural came about as a result of Kroger collaborating with The Studio 208 owner Ashley Segroves, who’s been a strong advocate and promoter of mural art in Nashville for several years. Says Seagroves:
Kroger worked with The Studio 208 and Eastside Murals to collaborate for a uniquely East-side vibe. The coolest part of the story is that one of the artists, Sterling [Goller-Brown], grew up behind me on Eastland Ave. I watched him learn to play drums. Full circle and so fascinating since Kroger wanted to stay as local as possible.
The most obviously local part of the mural, besides the words “East Side” and the train trestle bridge from Shelby Park, is the map. If you are used to maps having north at the top, you’ll be a little confused. North is actually to the left, where the grapefruit and peaches are. On the flipped map below, the red “K” in the center of the red circle is where Eastland Kroger is. The map is a little abstract, so ignore the inconsistencies.
Hopefully, this is a sign of things to come. The visual fabric of Nashville would be greatly improved if more national chains followed Kroger’s example. Also, I must note this Channel 4 story about the Kroger grand reopening. It says only that the mural was done by “a local artist.” Really? It’s actually signed. Please everyone, unless an artist wants to remain anonymous, or is genuinely impossible to identify, credit them for crying out loud.
Located at 711 Gallatin Avenue. The mural is on the south side of the building, facing Eastland Avenue, behind the pharmacy. It’s a grocery store, so lots of parking is available.