This mural features Rosine Bekoin, owner of a small cocoa farm in Côte d’Ivoire. Aversa’s mural has her surrounded by cocoa beans. With the support of Fairtrade, she’s been able to get better prices for her cocoa, supplying such firms as The Hershey Company for use in their Kit Kat brand. She credits this help with getting her through a period of low cocoa prices and for being able to save to build herself a house.
Bekoin is unusual in Côte d’Ivoire for being a woman owner of a cocoa farm, as most are owned by men. The mural, besides promoting fair trade practices, is also emblazoned with the slogan “Support Gender Equality,” another priority of Fairtrade. One of the other murals in the series also features a woman and the gender equality slogan. In Denver, Giovannie “Just” Dixon created a mural featuring Natividad Vallejos, a coffee grower from Peru. The third mural is by Levi Ponce. It’s in Los Angeles on Sunset Boulevard and features Segundo Alejandro Guerrero Mondragón, who is also a coffee farmer from Peru.
Prior to this mural, there was another mural on this wall. Back when this building housed Nashville Cash and Carry, a restaurant supply store, Murals and More, the commercial home of Michael Cooper, did a mural spelling out “Nashville” with letters made up of food and restaurant items.
Here’s the QR code found on the mural. It leads to a page describing the mural series on Fairtrade’s website.
Loctaed at 5001 Charlotte Avenue. The mural is on the east side (opposite the entrance) of the building and faces 50th Avenue North, and overlooks Richland Park. Parking is avaliable around Turnip Truck and across the street at the park
June is Pride Month, a celebration of the LGBTQ+ community. It falls in June because the Stonewall Uprising, a pivotal moment in the gay liberation movement, began on June 28, 1969. There was a time when major corporations would have wanted nothing to do with such a celebration, but times have changed. Skittles (a subsidiary of Mars) has perhaps an obvious tie-in with Pride as rainbows are central to their marketing and of course the Rainbow Flag is a key symbol of Pride. (The original, designed by Gilbert Baker, had been lost for 40 years but was recently found and is on display in San Francisco.)
For this year’s Pride celebration, Skittles has sponsored a series of murals by Queer artists. The project is called the Skittles QueeR Codes, and one of them is here in Nashville, on the side of the Germantown branch of Jack Brown’s. (The name of the series references the QR codes found on each mural.) The Nashville version is by local artist Sara Moroni, whose business name is Sara Moroni Pizza – “serving hot and fresh slices of art.” Why pizza? It’s a reference to the different kinds of art she makes. There are many kinds of pizza and many kinds of art.
Her contribution specifically addresses the issue of being LBTGQ+ in the South. “Proud to be Southern & Queer,” the mural declares. It shows some of the diversity of the Queer community in the South. Moroni wrote on her Instagram page:
I understood how important it was to take full advantage and represent as many Queers in the South as I could. So, I designed this mural to highlight the diversity of Queer voices here in the South—to be as inclusive and intersectional as possible.
To my knowledge this is Moroni’s first mural in Nashville. I hope we get to see more from her.
By the way, this is not the first corporate-sponsored Pride mural in Nashville. Instagram sponsored one back in 2017 that as of this writing is still up.
Before Moroni’s mural went up, there was a sign on the side of this building for Local 456 of the International Union of Painters and Allied Trades. I never got around to blogging about it (I was hoping to shoot it without vines), but here is what it looked like. The “J.A.T.C” refers to their training programs, called the Joint Apprenticeship and Training Committee. Local 456 has since moved out to Rundle Avenue (not far from Fesslers Lane and Elm Hill Pike).
Located at 1123 Third Avenue North, at the corner with Madison Street. The mural is on the south wall of the building, facing towards downtown and Jefferson Street. This is Germantown – there is some free street parking, but most available nearby parking is paid.
Hawkers is an Asian street food chain based out of Florida that opened in the old Family Wash site on Main Street a few months ago. As such, it’s no surprise that the giant mural provided by Mobe Oner (aka Eric Bass) has a strong Asian theme. As part of their branding, Hawker uses an image of the familiar Maneki-neko, the Japanese beckoning cat. Wait, that’s what they are called? I didn’t know that they even had a name, but I learn a lot writing this blog.
And yes, beckoning cat, not waving cat. In Japan, that’s a beckoning gesture. They are usually white, which is the color for luck, and in the upper left corner of the mural, Mobe Oner has placed the slogan “Feelin’ Lucky,” hence the title of this blog post. The Maneki-nekos are supposed to be based on the Japanese bobtail, but the flesh-and-blood cats are not nearly as chonky as their artistic counterparts. Maybe it’s all the Asian street food.
Only some of the cats in this mural are actually doing the traditional beckoning gesture. We seem them dancing, cooking, stuffing themselves with ramen, and taking selfies. The biggest one of all, appropriate to Nashville, is playing a guitar. You can watch a video of Mobe Oner working on the mural on his Instagram page.
I had to take these pictures at an angle because the cramped parking lot and the addition of an upstairs patio. I was sorely tempted to stand on top of Bolton’s next door, something easily done, to get the picture, but I didn’t, and neither should you. The building is also home to part of the 615 Center complex, as you can see by the sign right next to the Feelin’ Lucky logo.
Located at 626A Main Street. the mural is on the west side of the building, facing towards downtown. There is retail and street parking available nearby.
Back in 2008, Mitchell Delicatessen opened at 1402 McGavock Pike and quickly became a neighborhood favorite. They became so popular that by 2013 they needed to move to a larger space, though just down the street and across Riverside Drive, to 1306 McGavok. Not long after that, Mitchell’s acquired a mural on its west side (see below). I never wrote about that one, mostly because I never got around to finding out who the artists were. I was informed by Kim Radford, the creator of the newer mural featured above (it went up in April and May, 2018), that the original mural had been done by some of the employees at Mitchell Delicatessen. By 2018 the old mural had begun to deteriorate, and the owners were ready for a new one.
The old mural had been a little obscure in its imagery. The sandwich and the guitar are obvious, as was the sunrise based on a Tennessee state flag. On the other hand, why the original artists chose to include what appears to be a large cockroach and some Pac-Man like figures is less clear.
Radford’s mural is a different story. She chose to call it “Ham Baby,” and boy is it ever. This is a deli, and of course they serve a lot of ham, but a giant anthropomorphized sow with a “Greetings from Nashville” bikini definitely has presence. Her wink and flower tattoos only amplify the over-the-top nature of this fun mural. You can see closeups of the mural on Radford’s Instagram page. Indeed, she put up a whole series of posts on the mural’s creation. See links below.
Both of my pictures of the two murals are taken at an angle because of a fence and retaining wall that separates Mitchell’s parking lot from the driveway below and which obscure a more direct shot.
Located at 1306 McGavok Pike. The mural is on the west side of the building (in the direction towards Gallatin Road). There is some limited parking at Mitchell Deli. Be aware that the parking at the end of the driveway in the alley is reserved for another business. There’s paid parking to the east just off Riverside, on the other side of Village Pub.
Almost exactly two years after that first Nashville “Do the Dew” mural went up, Bongang created this one. This is at the Citgo station at Fifth and Main, an intersection that is something of a gateway to East Nashville. (The other main one would be Woodland and Fifth, near where the giant EAST mural is found.) The bulk of people coming from downtown pass by this spot as they come to the east side. Before this new mural went in, there was a small, rather quirky mural on this wall greeting drivers that focused more on Nashville themes.
Bongang’s mural fills the whole wall and spills around the corners on to the other walls (see below). While highlighting the “Do the Dew” theme, it’s more of a wild pastiche of images, including several birds. The mural faces across the river towards Nissan Stadium, which may explain the football, and the musical notes are likely a nod to Nashville’s status as Music City – or they may just be birdsong. This by the way is not Bongang’s first Nashville mural. He has a few others in town, including one just a few blocks away at Center 615.
Located at 500 Main Street. The mural is on the west wall, facing towards Fifth Street and downtown. There is parking at the Citgo.
For a couple of years, one of the most popular posts on this blog in terms of page views was “Beto Forever,” about a large mural on Gallatin memorializing the graffiti artist Ronald “Ronnie” Bobal, who used the name “Beto” in his work. But no mural lasts forever, and perhaps it was simply time, or the new building owner wanted to go in a new direction, and now that mural has been replaced by this riotous image by Brian Wooden.
Wooden is also known for his images of headless, sharp-dressed men, but here he has given 1767 Designs (a company that makes art and furniture from material recovered from demolished homes) a much more colorful and cartoony work, with a tightly-packed mish-mash of machinery, faces and flowers. If you look on his blog, linked above, or his Instagram page, you’ll see that while he’s worked in this style for a long time, lately he’s been focused on it more.
If you want to know more about how this mural was made, there are a couple of videos on Wooden’s IG page that show him working on it.
Located at 2611 Gallatin Pike. The mural is on the south side of the building. Parking is readily available.
At 6:30 in the morning on Christmas Day, 2020, an RV packed with explosives blew up on 2nd Avenue in downtown Nashville. The target was a building owned and operated by AT&T that houses important telecommunications equipment for much of the Southeast. While it is extraordinarily unlikely that the bomber knew or cared, the RV was also parked in front a major art installation that was completely destroyed in the bombing.
I have documented the eight murals that adorned the AT&T building, and you’ll find links for all of those pieces at the bottom of this post. The murals first went up in 2018. The project was curated and organized by Ashley Bergeron, owner of The Studio 208, a gallery that lies a block-and-half from the bombing site and which was damaged in the explosion. The murals were all done by women artists, and were printed on vinyl and pasted onto the building’s first-floor windows.
Back when the project went in, Bergeron had this to say about the murals:
The abstract artwork flows from one set of windows to the next using color, texture, and shape so that you are continually surprised while walking down the block. I want art to be accessible to all, and I get overwhelmed with joy when I see beautification in a public space.
From a press release
Now of course, all of that is gone. A video taken from the body cam of one of the police officers who responded in the minutes before the bombing shows the RV parked in front of the murals. At about the one-minute mark, you can begin to see the murals begin to come in to view on the left. As the officer gets closer to the murals, it’s possible to see exactly where the RV was parked – in front of the murals by Davies and Carter (see Part 5 and Part 6 below). All the murals were destroyed by the explosion, with small pieces of them scattered in the street.
Because they were vinyl murals glued to the windows, they weren’t pulverized, but rather shattered. One observer said what was left looked like colored glass on the ground. John Partipilo, a photographer who was on the scene before it was cleaned up, was able to recognize pieces of Inglish’s mural (which was farthest from the blast) because he’s familiar with the colors she uses. Bergeron herself thought she saw one the murals intact from a distance, but now knows that was impossible, a trick of the mind. Carter told me she has found it hard to put into words what the loss of the murals means.
In this picture by Partipilo, you can see scraps of color that I believe are from Inglish’s mural. (See Part 1 below). The red stripes on the ground appear to be a grid, probably put in place by investigators.
This second shot by Partipilo looks down the face of the AT&T building. It was probably taken right in front of where Inglish’s mural was, and down the sidewalk you can see more colored scraps. Some years ago the AT&T building was reinforced to strengthen it against bombings, and the black area behind the window frames appears to be a reinforced concrete wall.
This is the second time in less than a year I’ve had to report on a large amount of art suddenly and violently destroyed. After the March 3 tornado of 2020, I wrote about the art that was lost and damaged in both East and North Nashville. Now we are here again, this time because of the work of man, not the forces of nature. But the same resilience of the post-tornado era is also visible here. Bergeron would like to replace the murals with new work, with the original artists if possible. That of course depends on many things, including the future of the AT&T building. Inglish told me that the art wall will be missed, but she believes that Bergeron’s determination will “bring beauty to the streets of downtown again soon.” Catron echoed that idea, saying, “I believe, like a Phoenix, we will rise out of the ashes of this calamity to restore and refreshen our world. I would like to paint that.”
Because to the constraints of creating a collage, the murals in the picture at the top of the post are not in the original order. From left-to-right, top to bottom, they are by Inglish, Kendrick, Cole, Leonard, Laughlin, Carter, Wallace, and Davies. On the wall, the original order, left-to-right, was Inglish, Laughlin, Cole, Leonard, Davies, Carter, Wallace, Kendrick.
Located (formerly) at 185 2nd Avenue North. It seems superfluous to talk about parking, but when this site can be visited again, remember that this is downtown – lots of parking, almost none of it free.