Public Art Projects

Public Square Project

Selected Artists

Thomas H. Sayre, Raleigh, North Carolina

A Fresh Look

In September 2006, Clearscapes, along with other finalists, presented proposals for the “quiet courtyards” for the yet-to-be-completed new Public Square for the City of Nashville. In the RFP, the stated goals were to create work(s) which would fit into the highly composed public square design, provide amenity for the intended contemplative uses of the two “quiet courtyards”, be memorable, and finally, to speak to both the daytime and nighttime uses of the park.

Two years later, having been selected for the project, the artist suggested a visit to the site. In December 2008, once an implementation contract was finally negotiated, the site visit seemed in the best interest of all parties to assess the original public art goals now in light of the finished park where its actual use could be evaluated. The result of the site visit was to call into question a number of the original assumptions:

1. The park does not seem to get the volume the human traffic as was originally envisioned, and even fewer “quiet, contemplative users” in the vicinity of the two “quiet courtyards”.
2. The trees which define the “quiet courtyards” are more dense than envisioned and, even with the proposed art plan of removing a number of them, the site seems too tight, especially for the “derek crane” sculptures.
3. The amount of artificial light on the site at night (probably for safety reasons) calls into question the effectiveness of the subtlety of the color-changing mist emanating from the seating clusters of the western half of the proposed art design.
4. Providing many perches and places to sit seems less necessary given the apparent lack of need for seating, more than is already provided.

A new set of goals emerged for the public art. Again, this is based on the reality of seeing the finished and, now, used Public Square:

1. The public art must address the park as a whole (not just part of it) and help bring people into the park.
2. The public art must participate in the formality of the overall park design, give way to important view corridors, and not impede the large gathering functions which do occur on the site.
3. The public art must speak of the most important use of the space: civic gathering and participation in civic life.
4. The public art could add something whimsical, something memorable, and engage the public in a serious but also playful way. This playfulness may add a needed human ingredient to the otherwise very formal character of the space. The art must invite a whiff of the informal into the park.

A New Concept

The new concept is to install two slender vertical elements (columnar in overall proportion) in the two spaces at the southeast and southwest corners of the Public Square composition. The spaces roughly echo the two restored fountains at the base of the courthouse building. The verticality of the work relates to the rhythm of columns along the façade of the courthouse.

The image of the new concept is that of two citizens having a conversation. Harkening back to the Egyptians, Greeks, to Trafalgar Square, as well as American public statuary, each of the two elements will be composed of a tall, vertical base, columnar in proportion with a person on top at roughly twice life in size. The two people will be composed of a radial pattern of glass “fins” which, in aggregate, will be clearly recognizable as humans pointing with an outstretched arm. The exterior of the column/base will be formed stainless which will act as a durable skin to a mechanical system which will allow the public at any time to slowly rotate the figures via a massive and indestructible crank. The roughly 18’ high shaft itself will remain fixed keeping the moving parts well out of public reach.

The act of pointing seems appropriate to this historic gathering place for the City of Nashville. Throughout the history of the city, leaders have pointed the way. The two founders of the city (memorialized elsewhere in the park) pointed to the site where the city took hold. Others have pointed the way as the city developed and grew. Many pointed the way providing economic, political, and cultural leadership. The Fisk University students who caused a relatively graceful racial integration of the city beginning on this very site, pointed the way locally as well as nationally. The city continues to point the way regionally and nationally in music, publishing, and education, just to name a few. As the citizens of Nashville rotate the two glass figures, they can point at each other—in conversation. They also can point out to the city, the river, the offices of city government, and back at the citizens of Nashville at large.

Sticking up into the night sky above most of the current lighting in the park, the figures will glow and act as beacons at night. They will be visible from various distances. Wherever the figures are made to point, they will remain until someone else moves them. They will be, thereby an everchanging evidence of human participation. It is the aspiration of the concept that this piece will become a place to go in order to participate, to have an effect on the art, to make a statement for all to see.

On a technical note, the concept has been sufficiently vetted by two sets of engineers to know that it will work gracefully at the sites mentioned above which does place it on the roof of the parking deck. In consultation with Lysaght & Associates in Raleigh, North Carolina (the engineers of the sculpture itself), as well as Walker Parking, the Engineer-of-Record for the Public Square parking deck, the weight of the sculptures, wind forces, and footings can be supported by the existing deck structure. This means that the footing to hold the sculpture up will be relatively easy and cost efficient to accomplish.

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Kenneth Rowe, Nashville, Tennessee
Dispersed artworks

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I adopted the ideas of discovery & exploration as the overarching theme for my project proposal. In deconstructing this theme, three major elements of exploration and discovery became clear to me: there is the spark of discovery, the active pursuit of exploration, and the application of knowledge gained through exploration and discovery. The spark is that specific moment in life when you realize that you need to learn all you can about a new discovery. It is a moment that can define a lifetime.

Presentation board

I designed my sculptures to embody these three aspects of exploration & discovery. I have also included elements that should encourage the viewer to look more closely at all three sculptures to find the repeated visual references. I believe the details of the sculptures and the theme of exploration and discovery will engage viewers of all walks of life, no matter their age, gender, or cultural heritage.

The three sculptures are approximately 1/3 human scale, at this size a six-foot figure would be reduced to two feet. I find this scale desirable for its ability to draw people into the reality created by the sculpture. It is a scale that is welcoming rather than intimidating which allows for a more intimate experience than is normally found in public art and is more accessible to children. Rather than having to back up to view a life sized statue, the intimacy encourages people to approach the sculpture and explore its elements.

The Spark of Discovery:

This sculpture includes four children who reflect the diversity of the Nashville community. The central child, mesmerized by something wonderful held in her hands, has an expression of amazement on her face. Three other children, with similar expressions of wonder, are eagerly looking over her shoulder, attempting to catch a glimpse at what she holds.

Presentation board

For this moment, you are drawn into all that exists in their world, a world that has been reduced because of this singular discovery. The object in the child’s hands is not the only potential discovery in this piece, as there are larger possibilities for discovery all around them. Sculpted into the ground below the children are visual clues that encourage viewers to seek out other pieces. A locked treasure box represents the unknown. The key is found discarded in the grass. Buried nearby is the skull of a saber tooth tiger, a reference to the skull found in the AmSouth building excavation and the things that have come before us. At the children’s feet is a rabbit in its nest, encouraging all to explore the nature and wildlife of the park. Other childhood fascinations lie discarded at the prospect of this great find.

At three feet tall, the sculpted group of kids is at a perfect height for actual children visiting the park to easily see all of the details of this piece, inviting them to become part of the piece by also trying to glimpse the surprise in her hands.

You may also have noticed that one child is distracted. He wears the coonskin cap of Davy Crockett signifying the irrepressible spirit of exploration; he may have the ability to see what others cannot. He is also a visual indicator of a potentially greater discovery that is capturing his attention. Perhaps this is the spark of discovery that is referred to in the title.

The Scholar:

In “The Scholar”, a seasoned academic sits in the center of eight telescopes that he uses in his passionate pursuit of knowledge. He has dedicated his life to understanding his world and what lies beyond. We all must make a decision as to what we want to do to give our lives meaning, and subsequently to build a world for ourselves. The telescopes that surround the scholar are the world that he has created for himself. They are his tools to seek out the unknown. Many of the telescopes are based on actual models, including one of Galileo’s reflective telescopes. This piece is about passion and the active and conscious pursuit of exploring and making discoveries within our chosen field. The Scholar references the self-discipline it takes to dedicate ones life to a singular cause. The emphasis of study is to learn as much as we can.

Presentation board

As a base for the symbolic details, the rug underneath him is wearing out from his constantly checking each of the telescopes. On it there is a representation of our solar system with a map of the world overlaid. The planets are in the astronomical position of December 25, 1780 the day James Robertson crossed the Cumberland River and first stepped foot on the land that would be Nashville. The solar system is not perfectly centered within the rug, but is skewed to place planet Earth in the center where his stool is situated. Earth also marks the placement of Nashville within the image of North America. These maps suggest that we all have a place in the world and in the cosmos.

The scholar himself references Nashville as “the Athens of the South”, referencing the many colleges and universities in Nashville and their dedication to academics. I was interested in the many astronomical discoveries that have been made by the faculty at our local institutions as well as the Dyer Observatory and its historically important role in furthering technology. On the base between the telescopes will be the astronomical symbols of the eight non-disputed planets. The symbol for the recently demoted Pluto is on the side of the scholar’s coffee mug. Six telescopes will be aimed toward significant locations including different Nashville landmarks ... such as; the Ryman Auditorium, the Hermitage, and the Capital as well as astronomical bodies such as the North Star and the moon. One scope is pointed down to signify things yet to be discovered and explored.

The base of each telescope stand has an arm, which holds a journal in which the scholar takes his notes about the subjects of his studies. Each journal will hold visual and written clues as to the landmark it is aimed toward. For example: the journal for the scope that is pointing toward the Ryman Auditorium will have a sketch of the window and dates of landmark performances, etc... The clues will not be so specific as to take the opportunity for discovery away from the viewer but not so obscure as to be unrecognizable. At the Base of the sculpture is a panel that is ajar, inside are books that could be the prior journals he has written or the written accounts of explorers that came before him. The base also incorporates the Art Deco style used in the court house design spotlighting the semi-conical form and repeating fins.

To the Moon:

In “To the Moon” A young woman reaches up to the moon, opening it in order to change the light bulb within. She is a steward of accumulated knowledge and possesses the wisdom of how it can be used. Of course, she has only been able to reach such heights due to the combination of her hard work and that of her predecessors. Her knowledge and discoveries are represented in the gentle yet precariously arcing tower of objects she has stacked to climb to reach her goal.

A rough piece of granite is at the base of this perch. It is the rock of stability; which provides a secure foundation for the 5 foot tower that rests on it both figuratively and physically. The classic column base of antiquity is representative of the ideals of the great civilizations on which we model our present society. On top of that lies a cornerstone with the Roman numerals for 1780 that marks the founding of Nashville. Suitcases with stickers from other places, along with tickets and ticket stubs of train and riverboat travel, signify that Nashville has been a destination for people throughout history

Objects in the stack represent different aspects of local history, the musical tradition, contributions to space and astronomical exploration, local flora and fauna. A rendition of a “Hatch Show Print” poster will also adorn the column referring to Nashville’s ongoing support of the arts. A stack of records also provides her additional height to assist her in reaching her goal.

Through their titles, each book highlights an event or person from the area who did something great. There will be “books” referring back to the snake, bison, and lioness that adorn the courthouse. They will also include references to historically important figures like Andrew Jackson, James K Polk, Andrew Johnson, Alvin York, Davy Crockett, Hattie Caraway, and to contemporaries like Oprah Winfrey, and songbooks by regional songwriters.

Viewers who pay close attention to the details of the specific objects will be rewarded with the discovery of deeper layers of meaning. For example, the two radios, as reminders of the broadcasting of musical entertainment in Nashville are tuned to 650 AM for WSM, and its history of broadcasting the Grand Ole Opry and 1510 AM for WLAC which broadcasted the Night Train program.

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