Tag: Nashville Music City Center

The Music City Center’s Commissioned Collection

posted by – 06/11/13 @ 3:18pm

With 8 commissioned, site-specific pieces, Nashville’s new Music City Center stands just as impressive on the interior as it does on the exterior. Everything from color, form, and light inspire these artists to create extraordinary works that reflect the spirit of Nashville.

Benjamin Ball and Gaston Nogues lead the Ball-Nogues Studio in the creation of Euphony. Catenary stainless steel ball chains descend dramatically from a suspended elliptical ring beam and then return skyward on a new path forming two shells of pattern and color. Stretching 140 feet high, this matrix-forming geometric composition amplifies the aesthetics of light, reflection, and color creating a visual spectacle and physical sensation in the vast space of the Music City Center.


Beth Galston takes inspiration from the five bars of a musical staff and the undulating shape of a sound wave to create her interactive sculpture entitled Sound Wave. Using LED lights that dance along serpentine ribbons of suspended metal, Galston creates a visual melody that harmonizes the architectural design of Music City Center and the buzzing music scene in Nashville.


Nashville artist Alicia Henry, creates Intimacy and Peace to reflect both the human figure in isolation and the figure interacting with others. With twenty-one distinctive panels, texture and color appear only in close proximity. Henry invites the exploration and conversation of how culture, gender, race and societal differences affect individuals and group interactions.


Another local artist, Jamaal Sheats, presents Eight Octaves. The series of eight panels form the shape of an abstract guitar, complementing the architecture of the Music City Center. Sheats works in repousse and divides the series into four themes: the Rhythm, the Beat, the Pulse, and the Measure. Collectively, the artist documents the cultural heartbeat of the Nashville community.


Artist Phillip K. Smith, III creates two pieces for the Music City Center, both vibrant in color and three-stories tall. Chladni is based on the sound vibration patterns discovered by German physicist and musician, Ernst Chladni. Expressive components of music found in harmony, brightness, and fluidity are all celebrated his wall installation. Layers of color form bilaterally symmetrical shapes, revealing frequencies of reverberation through sand-covered metal plates. The overlapping colors found in the celebrated neon signs of Lower Broad and Hatch Show Print’s overprinting/layering process provided inspiration to the artist.


In his second piece, Spectrum II, Phillip K. Smith, III crafts an interpretation of resonance, rhythm, and musical vibration revealed through topography, color, and reflection. Complimenting the movement of sound and the Music City Center’s roofline, the musical motif continues as tones and intensities of reflection fluctuate with one’s movement within the space.


Composition by Aaron Stephan takes inspiration from the molded plastic tree holding parts in model car kits. Instead of car parts, plane wings, and ship rudders, Stephan’s unique work consists of a variety of over a hundred life-sized musical instruments that reflect Nashville’s embrace of all musical styles. The stark white instruments are organized in a similar grid-like form and create a rhythmic dynamic with the surrounding architecture.


Artist Bob Zoell creates a 165-foot-long ceramic mural, entitled “Happy Notes,”using birds as characters through all four seasons. By doing so, Zoell combines a poetic harmony with a playful celebration of music and the city where it is created.

Artists of Music City Center

posted by – 06/06/13 @ 3:29pm

Three artists from Tinney Contemporary were chosen to adorn the walls of Nashville’s new Music City Center.

Anna Jaap, John Folsom, and Pam Longobardi help fill the 1.2 million square foot space of the new convention center.

Anna Jaap

“This work is part of the SKYFIELD series—sixteen works on canvas created over a two year period with a focus on the intersections of physical and spiritual reality.

The descriptive title phrase “when the hours of daylight are few and the hours of darkness many” is taken from a book entitled Botany for Gardeners by Harold William Rickett, published in 1957.  It speaks eloquently of the period of dormancy in the life cycle that is necessary to foster new beginnings.”

John Folsom

This work is part of Anodyne Frontiers. Folsom’s first encounter with Shaker Village was at a family reunion back in October 2011. Immediately struck by the severe symmetry of the dwellings, Folsom found that the austere nature of the architecture seemed to reflect back onto the landscape, which itself possessed a formalism usually reserved for manicured estates.  In thinking about the direction for this work, Folsom also discovered the word “Anodyne” and its relationship to the pharmacopeia of antiquated medicine. Though the word itself relates more specifically to any kind of analgesic that will numb pain, these days it is used more acutely to describe anything unlikely to cause offense or debate.

Folsom became increasingly interested in that idea, relating it visually to the way images rendered in a more liminal palette can inhabit interior spaces almost imperceptibly.  Using large swaths of cool color that upon closer inspection reveal a frontier land slowly coming into focus, Folsom presents the structures and landscape of Shaker Village as a living museum, hovering on the edge of perception. Through the use of color and mixed media, Folsom’s Anodyne Frontiers, exemplifies this fascinating “in-between” quality.

Pam Longobardi


From Discontinuity Continuum. Longobardi shows new work in paintings on copper, collage-cyanotype works on paper.  The paintings create self-contained universes where Longobardi visualizes a future point where unprecedented changes wrought by humans may be clearly read through the paintings’ materiality.  She uses a combination of naturally occurring materials (copper and chemical patinas) and industrially created materials  (plastics, acrylic and lacquers) that are mixed to create that cracks, craters and stratigraphic layers on the copper panel.  These works reveal large, connected energy systems punctuated by the minutia of a microscopic lens, continuing her investigation of the problematic psychological relationship between humans and the natural world while simultaneously suggesting an interconnected fate.