Since the death of Kobe Bryant, at least three memorial murals have appeared in Nashville honoring him. I’ve already written about one by JamersonSGC, which I featured in Strength and mourning. Another, which I’ll feature soon, is found on 51st Ave North at This Red Bicycle Coffee. It is interesting that of all the icons that have been lost of late, Bryant has gotten this much artistic attention.
The one above is on Nolensville Pike at the building that houses La Sierra Western Wear. It is by José Fernando Vargas, who has been on this blog many times before. He’s one of the principal muralists who decorates Latino-owned businesses in town. Unlike Jamerson’s mural, which features a young Bryant alone, this mural also includes Bryant’s daughter Gianna, as well as the names of all the victims of the helicopter crash that killed them. As well, the mural includes the jerseys Bryant had in his career, an action shot of Bryant dunking, and one his quotes. A golden basketball rim stands in as a halo over Bryant’s head.
Long ago, this wall had a mural of graffiti art I featured in The Vape USA Gallery, which was painted over some time ago.
Located at 3807 Nolensville Pike, a few hundred yards south of the entrance to the Nashville Zoo at Grassmere. This mural faces north towards downtown. Parking is available.
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.
The smashed wall was boarded up, with only scraps of the original mural surviving. Recently, two local artists, Herb Williams and Andee Rudloff, have turned some of that drab plywood into colorful art. Williams did the stylized Tennesee flag, with birds and butterflies circling the stars in the middle, while Rudloff did the colorful array of Picasso-style faces. Look close and you can see three remnants of the original mural in surviving brick columns. The two bordering the flag are a little hard to see as they fit in with the color scheme of the new murals, but the blue and white strip at the far right, which is all that’s left of an image of paint tubes, is more easily discerned. Piled in front of the flag is much of the rest of the remnants of the old mural. Below, you can see how the new ones fit in with the whole facade, and you can see more clearly the extent of the destruction and what’s left of the previous mural. Obviously, this is temporary, but then, isn’t all art, ultimately? When the building is restored and new art goes up, you’ll find it here.
Located at 713 Main Street. For now, the parking lot is open. That may change when reconstruction starts, but there is parking at nearby businesses.
There’s quite a history to this wall on an unassuming building at 5th and Lea downtown. A few weeks ago, a set of murals by Thoughts Manifested and others went in. Before that, there was a set of murals primarily by Marty Riet McEwen, who signs his work “Riet.” Of course, some of Riet’s work was painted over by Abstract Dissent (aka Shane Pierce) for a Johnny Cash mural. And if you look closely at some of the pictures of Riet’s work below, you’ll see he clearly had painted over work that had been there before. Such is the way with outdoor art. I have my map with all its pins, but some spots you’ll see two or three pins, denoting a series of works on that particular wall.
The new set of murals starts on the left with a set by Pako and Audie Adams that includes a promotion of the Red Wolves Coalition, an organization dedicated to the restoration of the red wolf.
Going down the wall, we see a piece by Jon Ragoe Judkins and a new one for Riet, from what I would call his “cute horror” series. (Check out his Instagram page above, you’ll see what I mean.) And at the end, there’s an abstract piece of unknown authorship.
Why I never put the previous murals on the blog I don’t know, but this is what was there before.
Located at 526 5th Avenue South, which is the home of Enchanting Limousines (or was, their website has been suspended). The mural faces north, away from from Lea Avenue. This is downtown – lots of parking, almost none of it free. There’s a paid lot in front of the murals.
Early Tuesday morning, March 3, 2020, a powerful tornado touched down at the John C. Thune Airport and the tore through North Nashville, going parallel to Jefferson Street but a little north, then ripped through the southern part of Germantown, jumped the river and tore down Main Street and through Lockeland Springs and beyond. In “What we lost in the storm” I chronicled as best I could what outdoor art had been lost and damaged in East Nashville. On Thursday I had an opportunity to explore Germantown and North Nashville, including the Jefferson and Buchanan Street corridors.
I was deeply concerned that these art rich neighborhoods would also have seen many losses, as I knew from reporting that the general destruction was similar to Main Street and Five Points, where much of the damaged art in East Nashville is found. I am very happy to report that this is not the case. With a couple of minor and one serious exception, all concerning pieces I have never blogged about before, the outdoor art of Gernamntown and North Nashville escaped the ravages of the tornado.
Above, you can see a blue tarp on the wall of the Christie Cookie Company building at Third Ave North and Madison Street. It covers an area where the bricks peeled off the wall. When I saw it on Thursday, there were already workers repairing the building (hence the Port-a-Pottie). I don’t know what it will take to repair the wall, but I have little doubt that Christie Cookie will replace the sign if repairs require it to be destroyed. I know that both Seth Prestwood and Eastside Murals have doneversions (scroll down) of this sign, but Christie only shows a couple of tiny pictures of the artist who did this one. Failure to credit sign makers is a common error of companies large and small.
At Green Fleet Bikes, located at 934 Jefferson Street, their mural by Dough Joe is fine, but the tornado smashed the welded sculpture of junk bikes the graces the yard. To my, surprise, I never photographed it when it was intact. These two clips from Google Street View give you a sense of what it looked like in April 2019, though I believe it had been added to since and was larger than what you see here.
When I talked to Green Fleet’s owner as he and staff cleaned up the debris from the storm, he told me passers-by thought the smashed up version of the sculpture was all their good bikes mangled up and crushed together by the storm! The original was done by an artist who the owner could only describe as “an artist from Wedgewood-Houston” and had been added on to by staff overtime. The bus in the background, painted by Andee Rudloff, survived the storm unscathed.
The greatest loss in outdoor art on the west side of the river is the loss of the R&R Liquor Store sign. R & R Liquor, located a little over a block from Green Fleet at 1034 Jefferson Street, had a decades-old three-dimensional sign not unlike the one at Weiss Liquor on Main Street that was also lost. Nashville’s inventory of this style of sign continues to shrink. No doubt they are expensive to make and replace. Again, I never took a picture of it intact, so I include here a picture clipped from Google Street View.
We can be grateful that the art-rich neighborhoods of Germantown and North Nashville did not lose more, but of course, the damage to people’s homes and businesses was still tremendous. Nashville has a long way to go to rebuild. I know this town, and I know art and artists will play a key role in that rebuilding.
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.
Back in April 2018, there was a major mural art show put on by a consortium of artists that called themselves Impermanent. An old warehouse in The Nations was completely covered in murals. The name was chosen appropriately, as those murals have since been painted over. More recently, this giant image of their name appeared on the side of Bongo East at Five Points, courtesy of the artist Sterbo. It’s appropriate here too, as things always seem to be changing in Five Points. That white building in the background is the boutique Vandyke Hotel, where before a meat-and-three had been for years. The hotel’s construction destroyed or hid three murals on the other side of Bongo East.
And “impermanent” is appropriate for another reason. This wall once held, briefly, an installation of the Inside/Out portrait project developed by French artist JR and sponsored by OZ Arts Nashville. While I blogged about the other installations in this series, I never got around to writing about the Bongo East version, but here is what it looked like.
The small image in the middle of the Impermanent mural is a triple version of Sterbo’s logo.
Located at 107 11th Street South, just off Five Points. It faces a large yard on the south side of the building. This is Five Points, so plenty of paid parking, as well as street parking, but for that, you may have to walk a block or two depending on the time of day.
A couple years ago, what had been the south wall of the Turner Supply Company sported a double mural collaboration between Nathan Brown and Chris Zidek, who signs his work Zidekahedron, which I featured in the post From me to you. But this is go-go Nashville, Turner Supply has moved on, and the new tenants wanted something else. Actually, two tenants wanted something else, the local branches of the chains Patagonia and Superica. The original mural had a Brown piece on the left (west) side of the wall, with Zidek’s piece on the right (east). Now there’s no Zidek piece, and a new Brown piece is on the right, on the side of Patagonia, while there’s a hand-painted sign on the left on the side of Superica, which I’ll feature whenever I figure out who the artist is (It would be nice if it were credited anywhere by Superica, but I haven’t found such credit yet). The new Brown piece, while very much reflecting his style, does seem to evoke mountains, bringing to mind the great outdoors Patagonia wants you to associate with their brand. It’s also another example of a national brand sporting a local mural, though this not such a stretch for the brand image of Patagonia. This wasn’t an easy photo to shoot, as there is a building right across the road which makes it very difficult to get a straight-on picture, which is necessary because of the wooden slats. I had to hold the camera to my side and take a bunch of pictures hoping I got the right shot. A lot got left on the cutting room floor! I also had to do two different shoots, because the first time, I didn’t realize anything was under the wood slats!
Located at 601 Overton Street. The mural actually faces Mansion Street, on the south side of Patagonia. You can put some coins in the meters along Overton, but many of the nearby paid lots have one-hour free parking to encourage shopping in the Gulch, so make it part of your Gulch crawl and enjoy the art!
This work is by the youngest artist I’ve ever featured on this blog, save those murals that were collaborations between adults and children, such as my most recent post. Drew T. Morrison’s website doesn’t give his exact age, but a friend who knows the family tells me that Morrison is eleven or twelve years old. On his website and his Instagram account, you can see he’s already quite accomplished, and also that this piece is much calmer than most of his other work. It’s found in the outdoor seating area of Saint Stephen, the new Germantown restaurant owned by James Beard Award-winning chef RJ Cooper. Before Cooper took over the site, it was home to a restaurant called Mop/Broom. Mop/Broom also had a mural on this wall, by Nathan Brown. I never managed to get it on the blog or even photograph it, but it is preserved on Brown’s Instagram account (that’s a multi-photo post, so be sure to scroll through). A new owner often means new art, that’s not unusual.
Located at 1300 Third Avene North. The mural is in the patio on the back (north) side of the building. Street parking is available, but you might have to walk a block or two.