One of the earlier posts on this blog was about this very wall, and some similar-looking graffiti, only mostly in yellow. I worked out that the earlier one read “Krest,” but I didn’t have any idea who the artist was, and I gave it the cheeky title, “For that perfect smile.” You know, as in “Crest”? Well, this time around I know exactly who did it because he signed it this time – Troy Duff, aka Duffomatic, and yes, this one also reads “Krest.” In both cases, Duff did the work as part of the Hands on Creativity festival sponsored by Plaza Art. The earlier one was done for the 2015 festival, while this one was done for the 2018 festival. Duff was sponsored, at least for the second one, by Montana-Cans, a spray paint company. The previous one was painted over, presumably by the building owner, so Duff had a blank canvas to work with the second time around.
This little neighborhood squeezed between Lafayette and the interstate is known as Pie Town. Why that? Because apparently a few years ago some of the business owners wanted to rebrand the area, known for being a little rough around the edges. If you look at a map, it does sort of look lie a wedge of pie, bordered by Lafayette, 8th Avenue, and I-40. It remains surprisingly ungentrified for an area so close to downtown, though it is changing slowly.
Located at 617 Middleton Street. Nearby parking is easy. The mural is on the west side of the building, facing Plaza Arts.
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.
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.
It’s been a few weeks since I post any “wild” graffiti to the blog, though for all I know this was done with full permission of the owners. Owners of what? Hard to say. This piece is found on a small concrete building that lies at the corner of 11th Avenue North and Harrison Street, just below the tracks. This is part of an industrial area squeezed between what developers like to call North Gulch to the south and Hope Gardens to the north. It’s an area that has resisted development, a pocket of warehouses and factories a few blocks from the State Capitol. Two long-standing industrial firms are found right across the street. On both sides of 11th Avenue going north and to the east along Harrison Street, is the “campus” of John Bouchard and Sons, a machine shop and iron casting factory that goes back to 1908. A little farther down Harrison, on both sides of the road, is a branch of U.S. Smokeless Tobacco. While the company goes back to 1822, its Nashville factory on Harrison only goes back to 1996. But its presence suggests this small area will remain industrial. A large plot half a block north of the graffiti mural was recently leveled, tearing down what used to be a Goodwill warehouse that had been severely damaged by fire. The new owners of the site? U.S. Smokeless Tobacco. So, no condominiums, at least not yet.
The little concrete building itself is probably railroad property, though abandoned. For a long time, it was completely screened by trees and occupied by at least one homeless individual. Today, the trees are gone, and a security car is often parked next to it, no homeless to be seen. On the other side of the tracks lies Solis North Gulch Apartments, which start at a little over $1500/month and go up quickly, but the corner of Harrison and Eleventh is likely to stay out of the development craze for some time to come.
Located at the corner of 11th Avenue North and Harrison Street. Street parking is available, but be aware large trucks come through here frequently.
Almost a year ago (I took these pictures last March) a set of UH crew tags replaced the UH crew tags that once been on the backside of Main Street Liquors and Main Street Market, and which I featured in Back in the alley. The style of these new tags is distinct from the earlier ones, but UH is a versatile crew. This alley and nearby spaces feature several examples of their work. Sadly, one of their best, a trippy mural which I featured in Panda sky, which was on the back of what used to be Make Nashville and is just steps from the tags above, has recently been largely destroyed in a renovation project to its building, 947 Woodland. Change is a constant, and that’s certainly true for outdoor art in Nashville. One change – the building these tags are on used to also include a repair shop called Transmission Exchange. Now it’s been replaced with Crazy Gnome Brewery. The Five Points area used to be the place in Nashville you got your car repaired. That legacy is almost gone.
It’s not often that a graffiti artist gets written up in the local news, his arrival in town excitedly heralded by local arts groups. But Blek Le Rat is not just any graffiti artist. He’s an internationally known French street artist, known to some as the “godfather of stencil,” that is, the use of stencils to make images on walls. He toured the U.S. south in late 2018, creating works in the Texas cities of Waco, Houston, and Austin, and also here in Nashville. He left stencils at Montgomery Bell Academy and the one above at the Germantown branch of Barista Parlor. In this video interview with WPLN, he explains that he came to Nashville because it is the capital of music and because he thinks his work would be ignored and unappreciated in a more outdoor art-dense city like New York. The subject is a young Beethoven, who Blek presents in more modern dress, imagining how the old master might present himself to the Nashville of today and its music. He also thinks “the real America is in Nashville, a city like Nashville.” The video is worth watching because it captures a lot of his process as he produced the Beethoven portrait. It’s not as simple as spraying a stencil! The picture below gives you a sense of context.
Located at 1230 4th Avenue North. Both murals actually face the 300 block of Monroe Street. The Blek piece is obviously at the corner with 4th, while the For Becks piece is almost all the way down at the other end of the wall, near the back of the building. Street parking is available on 4th.
I have featured the wall under the Dr. D.B. Todd Jr. Boulevard overpass on Herman Street twice before. Originally, it was when the first image on the wall appeared, a portrait of Jimi Hendrix that I featured in a very early post to this blog, An icon under the bridge. That piece was done by Dough Joe of Norf Studios. Later, Norf Studios added two more portraits of Nikki Giovanni and Miles Davis, which I featured in An icon under the bridge, revisited. Now a fourth portrait has appeared, of Tupac Shakur. This is not a Norf Studios piece, but one by JamersonSGC, who frequently signs his work “Low Key Art.” You can see all the portraits together below, and the tag “Mr. Woo,” which I’ve seen in a couple places not far from this wall. If there is any further activity on this wall, I will be sure to keep everyone posted.
Located below the Dr. D. B. Todd Jr. Boulevard overpass on Herman Street, between 18th and 19th Avenues. There is street parking on these streets. Your best bet is probably 18th. Just south of this bridge you’ll find a lot of mural and graffiti art.
It’s been a while since I’ve put any “wild” graffiti on the blog, but this one caught my eye recently and I really like it. That skull in the middle of the tag is common in Nashville graffiti. A good example is the one featured in Staying power. This tag was surprisingly difficult to research because it lies in the midst of a massive development project, Capitol View. Capitol View lies on the north side of the part of Charlotte Avenue that was recently renamed Dr. Martin Luther King Jr. Boulevard, centered on 11th Avenue. When fully finished, it will take up six entire blocks running between MLK Blvd and Clinton Street three blocks north, while bordered by George L. Davis Blvd to the west and the railroad that roughly parallels 10th Avenue to the east. And about 10th Avenue – many of us have come to rely on Google Maps to stay up to date, but as of this writing it very much isn’t, (but it might be by the time you click that) and I could not make what I remember seeing jibe with the map. At one time, Gay Street crossed 10th Avenue and went under a railroad bridge to connect to a large, decrepit parking lot. That lot is now “Building E” of Capitol View and has a big sign on it that says “500,” as it’s official address is 500 11th Avenue. And the stretch of 10th that used to run between Nelson Merry Street and Lifeway Plaza? It’s been turned into an almost-finished park, that according to Capitol View’s Master Plan, will apparently be open to the public and linked to the greenway system. To get it, you have to go under the bridge, right where this graffiti is. Which means this graffiti probably counts as endangered art. Check it out soon.
UPDATED: This has been painted over.
Located just east of 500 11th Avenue. There is a driveway that runs between Lifeway Plaza and Nelson Merry and parallels the railroad, and the underpass where this is found is right in the middle of that stretch. There is an entrance to a parking garage right in front of it where you should able to park as a visitor for short periods of time.
Usually, I try to use a shot of the entire work as the featured image, but that’s impossible here, as this particular work is spread out over both sides of the underneath of a railroad bridge on Wedgewood Avenue. The wider shots are informative, but I think this detail above best captures the essence of the spread out work. It’s not clear how long these abstract skylines have been under the bridge next to Warren Paint and Color Co. It appears that mold and mildew have grown over some of the work, and some has been tagged with graffiti. That and some general deterioration, including chips out of the concrete that the work is painted on, suggests its been here for several years. I first saw it about a year ago, but I’m sure it’s much older. The abstract buildings may be inspired by the main Warren building (see below). There is also a rainbow-colored “RESIST sign on the bridge itself. That, I’m sure is fairly recent. In the slideshows below the factory, the first focuses on the north part of the underpass, working from east to west, while the second showcases the southside, working from west to east.
Located on Wedgewood Avenue, between 700 and 654. Parking is tricky here. It is possible to park on a gravel area in front of 654, on the northeast side of the bridge, but I have only done this after hours and on the weekend.