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.
The north wall of what is now Bowie’s (and before that, Piranha’s), seems to be developing as a goto spot for murals sponsored by international brands. About three years ago, Stella Artois commissioned Eastside Murals to do a promotional piece I featured in Drink responsibly!. Last September, it was Audi’s turn. They commissioned No King’s Collective, aka Brandon Hill and Peter Chang, two Washington, D.C. artists, to use their bright, colorful style to promote the Audi Q3. That link is about the 2020 model, while the mural features the 2019. (If you’re reading this in 2021 or later, no guarantee on the link.) Hill and Chang not only painted the mural, but they also painted one of the cars, in a pattern very similar to the mural itself. The phrase “Hold nothing back” shows up a lot in Audi’smarketingcampaigns.
The Audi mural is part of what seems to be a growing phenomenon – corporate firms promoting mural campaigns across the country. Just recently I featured one sponsored by Pandora that produced a mural in Germantown. All this is great – it certainly gets work for artists, possibly at somewhat higher rates than some local businesses can afford. And I think it’s good that this sometimes brings in out-of-town artists, but within limits. For the most part, I think these firms should reach out to local artists first. We need the mix, but we also need to keep our own community going.
This is something of a pandemic post. It’s not often a downtown parking lot right off 3rd Avenue is clear! I shot the mural a little off-center because there is a pole in the middle of the lot blocking a direct shot.
Located at 174 Third Avenue North. The mural faces north, away from Lower Broad. This is downtown, so lots of parking, almost none of it free, notably not the lot the mural faces.
What happens when an artist is given complete freedom to create? Well, if the artist is Mobe Oner (aka Eric Bass), you might just get a surreal scene. Perhaps you might get something like a drifting spacesuit filled with butterflies, with the facemask broken open so the butterflies can escape. In this case, you get exactly that. It certainly doesn’t have much to do with pizza, despite being on the front of the Midtown branch of Donatos. And no, the closeup pictures below are not slightly out of focus. Originally, this was a wooden surface, but the mural was done on stucco, giving it a textured look. There’s a richness to the color that you don’t see in a lot of murals in Nashville. As for the spacesuit, it doesn’t appear to be a specific design, but it seems to most resemble the AL7, which used by NASA for the Apollo and Skylab missions and thus would be fixed in a lot of folks’ minds as what a spacesuit should look like. And anyway, the orange Space Shuttle suits wouldn’t look good here. The butterflies look a lot like Blue Emperor butterflies, but they may just be fantasy butterflies.
Located at 1915 Broadway. The mural is on the front of the building, facing the street. There is street parking right in front of the mural, unfortunately, and Donato’s has its own parking as well. Grab some pie and enjoy the art!
In the selfie wars of Nashville, the Gulch Wings may be King, but the “nashville looks good on you series” is certainly a contender. Of course, I recently got a shot of the one on a small building behind Frothy Monkey’s 12 South outpost easily only because the crowds are gone, so chalk this up as another pandemic shot. There’s also one on the Anderson Group Real Estate building on 21st South (which I haven’t put on the blog yet) and my favorite, the big one on Nolensville Pike. They’re all done by the artist who bills himself online as NASH.TN Note the small white block next to the word “good.” It’s a notice asking people to please not take down the banner. In the immediate aftermath of the March 2nd tornadoes, banners reading “volunteering” were placed over the word “nashville” on all three murals, making them read “volunteering looks good on you.” Here it is on the one on Nolensville Pike. Tornadoes, pandemic, what’s next? Another flood? Nashville needs a break.
There is also a Legos Man by for Becks on the back side of the building and a couple of other small pieces by Raddington Falls. One of them may be responsible for the unsigned stencils on the north side of the small building.
Located at 2509 12th Avenue South. The mural is on a small building in Frothy Monkey’s back yard, which can also be reached by a small alley behind Frothy Monkey that runs between Beechwood and Sweetbriar Avenues. That’s where you’ll find the Legos Man. There is street parking, particularly if you are willing to walk a bit, and a fair amount of paid parking in the immediate blocks.
I don’t often report on very new art, but this seems timely and relevant. The artist who goes by JamersonSGC and signs his work “Low Key Art” only put this up about a week ago. He writes, “You are my superhero.. be safe..#nurse #doctor.” Ironically, this corner on Lafayette Street, a corridor Jamerson has done a lot of work on, usually has people congregating, as it did when I went to photograph this mural. A lot of it comes down to the fact that social distancing is a matter of privilege. Some people because of their income or housing situation really can’t, and some people, like our medical personnel, like our grocery workers and delivery folks (to name a few) have jobs that require them to take risks. We should honor those risks, and seek ways to help the people who don’t have adequate housing, income, and medical care to shelter in place.
Jamerson has some other work on this building I’ll feature later.
Located at 125 Lafayette Street, on the building that houses Southside Market and Deli and Big G’s. The mural faces Lincoln Street. There is some street parking in the immediate area.
Historic statues, like any way of telling history, always come with a point of view. This statue commemorates the moment that two founders of Nashville, James Robertson and John Donelson, reunited on approximately the very spot the sculpture sits, and clearly represents it as a noble if somber moment. In the middle of the American Revolution, Roberston (shown with an ax over his shoulder) and Donelson (shown with a rifle) were part of a group of colonists who sought to settle along the Cumberland River. In late 1779, Roberston traveled by land from what is now Kingsport, TN with a group of about 200 men. They chose a site known as French Lick to build Fort Nashborough. Donelson came by river with a large group that included families, arriving on April 24, 1780. It’s entirely plausible that Roberston and Donelson shook hands that day. Of course, what the statue doesn’t really address is the Cherokee who lived on this land. Well, the large plaque beneath the two men which tells the story of the founding does mention how Donelson overcame “savage Indians” in his journey downriver. There is a faded “YOU THIEF” underneath Donelson as viewed from behind him. Commentary? (See the slideshow below.) The text of the main plaque also mentions the Cumberland Compact, the “constitution” of the settlers. The large plaque in front of the statue lists the signers of the compact.
The work was commissioned by Mayor Ben West, who may be best remembered today for a pivotal moment in the Civil Rights movement in Nashville when he agreed with student leader Diane Nash that discrimination based on color was wrong. It was done by Thomas Puryear Mims, who was a professor and artist-in-residence at Vanderbilt University, and was installed in 1963. Mims did a number of other sculptures around town, though this is the first one I’ve discussed on this blog.
A recent report by Metro Arts on the condition of Metro-owned art rates the condition of the work as poor and places the need for repairs at a high priority (see page 25). You can see some of that in these pictures, including the staining on the bronze and the damage to the pedestal. This sculpture is also protected by the Tennesee Heritage Protection Act, a bill designed to protect Confederate monuments from being taken down, but which applies to all publicly owned historic monuments. To my knowledge, there are no monuments in Nashville to Dragging Canoe, a Cherokee leader who fought against settlers moving into Cherokee lands, including an attack on Forth Nashborough in 1781.
Located on the 200 block of First Avenue South, a little south of Church Street. This is downtown, so lots of parking, very little of it free.
Things are quiet in the 12 South neighborhood these days, as they are in all of Nashville’s tourism zones. So perhaps it’s a better time for locals to check out the art. This piece lies on the side of The Flipside, a restaurant who’s social media doesn’t seem to acknowledge the pandemic at all. This fun piece is by Gage Lozano, an artist and graphic designer who signs his work N.Gaged. It’s been up for about a year-and-a-half, so by now, many tourists have had the opportunity to stand under those headphones and get their picture taken. Kristin Luna has written recently about how many business owners want “interactive” murals for their buildings, specifically wings, like the famous ones in The Gulch by Kelsey Montague. As she says, all murals are interactive, and even if you want something specifically designed for interaction, it doesn’t have to be wings. For example, it could be headphones, like these, or the ones by Ty Christian at The Listening Room Cafe. It’s a good point. I think intentionally interactive murals are great, but artists need to be allowed the freedom to explore new ideas. This one by Lozano, of course, does a lot more, the flowers making them headphones seem more organic than technological.
Located at 2403 12th Avenue South. The mural is on the south side of the building, and if you continue down that alley you’ll find the bike sign. There is free street parking if you are willing to walk a ways, and a few pay lots nearby.
This is Nashville, and mural and sculptures inspired by music are part of our community identity. So it is no surprise that Nashville was chosen by the music streaming service Pandora as one of the eight American cities to participate in its “Sound Walls” project. Artists were commissioned to produce both a mural and a playlist of the music that inspired their mural. In Nashville, the artist Pandora selected was Alexandria Hall. As she says in this video, “This mural kind of represents the connective power that music has on all kinds of people.” On her Instagram page, there are a series of posts depicting the making of the mural. You can listen to the playlist of the music that inspired her if you have a Pandora account. Passers-by can get it from a QR code (look for the word “Pandora”). The playlist includes artists such as Kevin Ayers, Bonny Doon, and Weyes Blood.
The park has its origins in the urban renewal movement of the 1970s. It’s hard to imagine that the neighborhoods near Vanderbilt could have ever been thought of as blighted, but so they were declared, to be taken by eminent domain and demolished for development. Fannie Mae Dees lived in the path of this “renewal,” and became a fierce activist who fought back. She ultimately lost, and many houses on the south side of Vanderbilt were demolished. One plot slated to become a hospital ultimately proved unusable, and became a park, though Dees did not live to see it. The park was named after her, in honor of her activism – though the land would not have been cleared if she had won.
Anne Roos, then a board member of Metro Parks, invited Pedro Silva to come to Nashville after learning about a community art project he had done near Grant’s Tomb in New York City, a set of curving, mosaic-colored benches. She thought a similar project might help heal some of the neighborhood strife that resulted from the urban renewal project. And the Sea Serpents were born. Yes, sea serpents – that’s what Silva called them. In this WPLN Curious Nashville article that I got most of this information from (written by Mike Linebaugh), you can see him working on the interior frame. Later, people from around the neighborhood came and painted tiles, which Silva turned into mosaics, much as he had done at the Grant’s Tomb project. He included many faces, including a portrait of Fannie Mae Dees herself, with the house she defended in the background.