public art commission september 8, 2014 at 3

PUBLIC ART COMMISSION
SEPTEMBER 8, 2014 AT 3:00PM
MEETING AGENDA
PARKS + RECREATION CONFERENCE ROOM, 102 PUBLIC SQUARE
I.
CALL TO ORDER (102 PUBLIC SQUARE)
II.
ANNOUNCE MEMBERS IN ATTENDANCE (VERIFY QUORUM)
III.
ADOPTION OF MINUTES

IV.
V.
AUGUST 27, 2014
NEW BUSINESS

ARLINGTON HOTEL SIGNAGE

WEBSITE ADDITION: CIVIC ART BOOKLET FROM APSU
OLD BUSINESS

ORGAIN BUILDING SUPPLY PUBLIC ART
VI.
ADJOURNMENT
VII.
PUBLIC COMMENTS (5 MINUTES EACH)
PUBLIC ART COMMISSION
AUGUST 27, 2014 AT 3:30PM
MEETING MINUTES
PARKS + RECREATION CONFERENCE ROOM, 102 PUBLIC SQUARE
I.
CALL TO ORDER (102 PUBLIC SQUARE)
The Public Art Commission was called to order at 3:30PM on August 27, 2014 by Dixie
Webb in the Parks + Recreation Conference Room at 102 Public Square, Clarksville, TN
37040.
II.
ANNOUNCE MEMBERS IN ATTENDANCE (VERIFY QUORUM)
Dixie Webb, Mike Andrews, Jennifer Byard, Ellen Kanervo, Alan Robison
Others in Attendance: Michelle Austin, Anthony Johnson
Mayor Kim McMillan, Steve Wilson, Deanna McLaughlin Karen Parr Moody, Mark Tummons
were absent.
III.
ADOPTION OF MINUTES

JULY 14, 2014
Ellen Kanervo made a motion to adopt the minutes as presented. The motion was
seconded by Mike Andrews. With no objections, the July 14, 2014 meeting minutes were
adopted as presented.
IV.
NEW BUSINESS
NONE
V.
PUBLIC COMMENTS (FIVE MINUTES EACH)
Ellen Kanervo made a motion to hear Public Comments. Mike Andrews seconded the
motion.

MIKE ANDREWS
Mr. Andrews shared the group his interest in allowing his advanced students at
Montgomery Central High School to paint the Orgain Building Supply sculpture. Mr.
Orgain has agreed to supply the paint and transport the sculpture to the high school and
then relocate it to its final placement at upland trail. Jennifer will speak with Mark
Tummons, Director of Parks and Recreation, to seek his approval.
Public Art Commission Minutes
August 2014

Page |2
ELLEN KANERVO
Becky Stark has given Ellen Kanervo a hard drive that contains the Civic Art booklet her
students prepared. Ellen needs some assistance recovering the document for uploading
to the Public Art Commission website.

ALAN ROBISON
David Smith is seeking guidance for the Arlington Hotel Sign. He has quotes from firm in
Nashville. This item will be added to next month’s agenda, where Mr. Smith will be
invited to speak on the issue.

DIXIE WEBB
Parks and Recreation is seeking guidance on how to maintain the fountain at Public
Square fountain. This item will be included on next month’s agenda.
VI.
ADJOURNMENT
Jennifer Byard made a motion to adjourn the meeting and reconvene at the Upland Trail.
The motion was seconded by Alan Robison. The voice vote was unanimous and the
meeting was adjourned.
VII.
CALL TO ORDER (UPLAND TRAIL PAVILION – UNION STREET/ S. SPRING
STREET)
The Public Art Commission Meeting was reconvened at Upland Trail.
VIII.
OLD BUSINESS

ORGAIN BUILDING SUPPLY ART PLACMENT (JENNIFER BYARD)
Members discussed possible placement locations of the Orgain Building Supply art piece.
It was decided that the art will be placed on the east side of the trail, 25 yards south of the
pavilion. Mike Andrews will get price estimates for a base. Michelle Austin will get cost
estimates for interpretive signage. Cost estimates will be discussed at the next meeting.
IX.
ADJOURNMENT
Alan Robison made a motion to adjourn the meeting. The motion was seconded by
Jennifer Byard. The voice vote was unanimous and the meeting was adjourned.
Meeting minutes were prepared by Michelle Austin of the Parks and Recreation Department.
Approved:
Chair
Date
Civic Art
of
Clarksville
The stories behind the pieces
Civic Art
of
Clarksville
The stories behind the pieces
Faculty Advisor
Becky Starnes
Project Manager
Wilson Mendez Jr.
Editor-in-Chief
Marlon Scott
Managing Editor
Eric Martin
“Every time a student walks past a really
urgent, expressive piece of architecture
that belongs to his college, it can help
reassure him that he does have that mind,
does have that soul.”
-Louis Kahn
Foreward
By Eric Martin, Wilson Mendez Jr. and Marlon Scott
W
hen we embarked on the study of Urban Planning in the
fall of 2010, we had no idea some of the places our learning
would take us.
We were a class of practical-minded people, focusing on the
concrete issues of traffic patterns, school zoning and public utility
effectiveness. Fortunately, our professor also steered our thoughts
to the more whimsical aspects of Urban Planning, like open air
design, public parks and civic art.
At first glance, it is easy to overlook the significance of civic
art. But, what would New York be without the Statue of Liberty?
Would Paris be as romantic without the Eiffel Tower? Would St.
Louis be complete without the Arch?
Civic art provides an identity for the citizenry that is unique
to their city. It inspires hometown pride and promotes a culture
all residents become a part of. It breathes a little bit of soul into
what would otherwise be a non-descript landscape of streets and
buildings.
Clarksville is no exception. The Queen City boasts a dedicated
group of citizens and a diverse array of talented artists who have
contributed thought provoking pieces commemorating our history, honoring our heroes and celebrating the spirit of Clarksville.
The following stories are introductions to these pieces. Each
piece has a compelling story. Some come with humor, while others
come with some drama. But, there is a story behind each of the
pieces of Clarksville’s Civic Art.
photo by marlon scott
U
Birds of a feather
Rice creates limestone
‘Family’ for the library
By Lance Powell
pon entering the Clarksville-Montgomery County Public
Library it is hard not to notice the limestone birds. Sculpted
by local artist and Austin Peay State University art alumnus Tom
Rice, these limestone birds are surprisingly simplistic, yet elegant
and attractive.
The birds range in size from large to small. A plaque posted
alongside the sculptures identifies them collectively as “Family”.
According to Rice, in 1981 the advocacy group, Friends of the
Library, commissioned him to sculpt the birds to beautify the
entryway of the former library, which was located on Main Street
in downtown.
The “Family” was completed and placement occurred in the
spring of 1983. Upon relocating the library to the Montgomery
County Veterans Plaza in the 1990s, the birds were moved as well
and remain on display in its foyer.
Each piece rests atop individual pedestals, all situated in similar
poses with bodies forward-facing and heads swept back as if they
are in a state of rest. The largest sculpture appears to be more alert
than the others, possibly suggesting it is watching over the two
smaller, more vulnerable birds.
Rice has become well known for constructing birds of similar
fashion. Rice said in 1975 he intended on exhibiting some of his
work at the Tennessee Crafts Fair in Nashville and had originally
planned to display some pieces of abstract art. However, for fear
the general public would not “get” abstract work, he chose to
display sculptures of birds, simply because they are universally
accepted by differing people from various places. The sculptures
were so well received, the artist continued hand sculpting these remarkable sculptures. Rice said he chose limestone as his medium
because he happened upon some discarded limestone blocks. Aiding his decision was the fact the limestone was recyclable and free.
The method of sculpture was a hands-on approach using
chisels, rasps, files and sandpaper. Because of the smooth, graceful look of the pieces, it is ironic they were fashioned from such
coarse and heavy material.
Regardless, Rice succeeded in his undertaking of turning stone
into a refined and sophisticated piece of art.
In addition to “Family” being a superb addition to the collection of civic art located in the community, it is a fitting means to
receive the guests and patrons of the Clarksville-Montgomery
County Public Library.
Rice said he “is pleased that the birds continue to be wellreceived and are acknowledged as being a great addition to the
library.”
photos by Lance Powell
photos by Wilson Mendez Jr.
Wise salutes all veterans
with ‘Reverence’
By Wilson Mendez Jr.
S
cott Wise’s piece titled “Reverence” is a one and a half life size
sculpture dedicated to the veterans who served in the United
States armed forces across all branches of service.
The idea for the project began in November 2004 with Wise’s
friend Doug Wieland, who at the time was the county executive for Montgomery County. Aside from providing his input for
the piece, Wieland mainly dealt with the financial aspect of the
project.
Funding for the project was provided by the county and coordinated by Wieland through the duration of the project. Wieland
had a specific idea for the proposed art piece. He wanted to honor
soldiers specifically from the Montgomery County area who
fought and died for their country. Wieland felt while Clarksville
had the Doughboy statue, it only represented those veterans who
served in World War I.
He wanted a piece that would represent all veterans who served
in all the wars the U.S. took part in over the decades. He contacted Wise with his proposal and the two of them collaborated
for about a month going over various aspects, ideas and concepts
for the sculpture.
One particular aspect Wise enjoyed about the project was the
intimacy. It was more of a one-on-one between Wieland and himself as opposed to dealing with a committee which isn’t necessarily critical, but can make the process somewhat difficult at times.
“It’s a whole lot easier pleasing one person than twelve,” Wise said.
Wieland gave Wise the artistic freedom to create the piece.
Wise began the project in late January 2005. The piece was
sculpted in clay and was completed in May of the same year.
The piece was then sent to the foundry in Clarksville where the
rubber mold was created in preparation for creating the bronze
piece. Bronze is ideal for material in sculptures because it can
weather the elements very well and the only considerable change
that will occur over time is the color of the patina.
The bronze soldier was completed in October and presented
on Veteran’s Day, Nov. 11, 2005. Because Wise wanted to create a
sculpture that paid respect to all veterans and not one particular branch of service, he designed the uniform in such a way it
could not specifically identify any one particular branch. From
first glance, it is clear the sculpture is a soldier kneeling, holding a
helmet. However, a closer look reveals there is no rank, symbols,
or patches with the exception of the American flag.
In choosing a model for the look of the sculpture, Wise used
his fathers’ likeness as the basis for the piece. Wise’s father, Roy
Wise, was a retired sergeant major who served in the Army with
the 101st for 26 years.
Roy passed away on Dec. 24, 1984, when Scott was 18-years
old. As a result, he had to work from various photos of his father
to create the piece. For the months he worked on trying to
capture his father’s likeness in clay, he sought the approval and
critique of his mother, Betty Wise.
On one of the last visits Mrs. Wise made to offer her critique
to her son, she cried after looking at some adjustments he made
around the face. It was clear at that point he had captured his
father’s likeness accurately.
Reverence stands as a reminder of all those who fell in battle
to protect the freedoms Americans enjoy in this country and as a
reminder to Wise of his father’s dedication and service.
The Clarksville Protector
“Dedicated to all who serve”
By Michael Vailes and Sherry Bland
photo by sherry Bland
of Valor.” Kids could purchase a link for a dime and the resulting
chains were displayed at a local shopping mall. The chains went
around the center four times and raised over $4000.
When Ashby began researching for a sculptor for the project,
she discovered Brodin Studios in Minnesota. Brodin Studios was
founded by brothers, Roger and Neil. Both were Minneapolis officers who are now well known for their art for the law enforcement
and public safety communities. They had created several “Protector” pieces in many cities.
Brodin Studios not only had experience in designing the
sculpture, they also understood the significance of the project.
They were very supportive and provided ideas for construction as
well as sculpture itself. Impressed with their recommendation and
ideas, there was no longer any question of who would create this
statue.
Ashby eventually raised the money thanks to private donations from citizens, police officers, and local businesses. It took
three years from when she was originally inspired to complete her
dream. On May 17, 2005, the statue was unveiled at a ceremony
held at the Clarksville Police Department in honor of fallen law
enforcement officers.
City Mayor at the time, Don
Trotter, proclaimed that week as
Clarksville Law Enforcement Week to
celebrate in honor, the lives of officers
killed in the line of duty.
The “Clarksville Protector” depicts
real Clarksville police officers. Brodin
Studios uses an “ancient lost wax process of hot bronze casting.” It allows
them to customize their work for any department. For example,
the “Clarksville Protectors” are designed in Clarksville police uniforms including real badge numbers.
The statue is bronze to represent all races, nationalities, and sex,
without discrimination. The police officer holding the child’s hand
represents a caring and compassionate city where everyone can
feel safe and how honorably the officers lost their lives. This statue
was featured on the cover of the Federal Order of Police along
with an article titled “Remembering Lives Lost in Duty”.
Ashby’s idea was to have a place where the children could come
to honor their fallen mothers and fathers and appreciate how they
lived their lives.
Jackie said, “Sometimes the heart sees things that are invisible
to the eye.”
When the statue was unveiled, she knew her work was accomplished and appreciated. There were over 200 people present
for the unveiling. Among them were the wives and children of
Officers Dave Scoot and Yamil Santiago. They were both killed in
a high speed police chase just a few months after Ashby began the
project.
“I could tell in the eyes of their children that my goal was accomplished,” Ashby said.
“Sometimes the heart sees things that
are invisible to the eye.”
-Officer Jackie Ashby
I
n February 2002, Clarksville Police Officer,
Jackie Ashby, was inspired by the “Protector,” a memorial statue featured in several cities
that depicts a police officer with a child. While
on a business trip to Washington D.C. with her
husband Lt. Phil Ashby, Jackie began to see a vision: A vision in her heart of a “Protector” for the
city of Clarksville. The project was under way
as soon as she returned home from the business
trip.
Ashby was very passionate about the project.
She had never done anything like this, so she
began research on the “Protectors” around the
United States and on Civic Art.
Eventually, Ashby made a proposal to the
Clarksville chief of police, Dwight Ingle, to have
its very own “City Protector.” She suggested the
city needed something to symbolize the caring
and compassionate sides of law enforcement.
The chief agreed with her idea. Next, she spoke
with the mayor, Don Trotter, for approval on the
construction. Ashby was granted approval and
the project began. The statue would be placed
outside of the Clarksville Police Department for
everyone to see.
The project was estimated to cost more than
$35,000. After the first donation of only $30,
Ashby was a bit discouraged, but did not give up
on her dream of making the project succeed.
After a few weeks, Ashby received a check
for $2000. This helped and encouraged her to
continue. She made a proposal for a commemorative brick program that allowed donations of
$100 for officers or members of the C. C. P. A.
who obtained 10 pledges. The bricks would have
engravings of the donors’ choice. The engravings
would be included with the proceeds from the
officers’ donations.
From there, businesses began opening their
doors for fund raisers. One of the projects
involved local schools. One department even designed a fund-raising project they called “Links
Clarksville remembers
‘The Day After’
By Eric Martin
T
he Day After, also known as “The Seated Piece,” created by
Clarksville firefighter and sculptor, Scott Wise, is located on
the southwest corner of the intersection of Commerce and Second Streets in downtown Clarksville.
The statue was commissioned by Main Street Clarksville and
was the last piece of public art sponsored by the group. Mark
Holleman was the board member of Main Street Clarksville who
spearheaded the effort to get this piece of art placed on the Courthouse Square. Members of Main Street Clarksville’s board were
especially pleased to have a local artist sculpt the piece because of
the circumstances surrounding the work’s creation.
According to Wise, the statue was commissioned because Main
Street Clarksville was disbanding and wanted to ensure the money
remaining in its coffers was spent to place works of art around the
city of Clarksville.
The Day After was created with the money left over after the
statue of Montgomery was completed. Wise states that the group
got the idea of having a seated figure from similar works created
by sculptor Seward Johnson who has works in most major United
States cities. The Day After refers to Jan. 23, 1999, the day after a
tornado struck downtown Clarksville.
The statue of a man reading a newspaper is placed on a park
bench and the front page of the paper is a replica of the January
23, 1999 edition of The Leaf Chronicle. The Leaf Chronicle, which is
located directly across Commerce Street from the statue, sustained
severe damage during the tornado; yet still found a way to publish
the following day.
The statue was originally molded from clay and submitted for
approval by the board of Main Street Clarksville. Once approval
was obtained, the statue was cast in rubber and wax before it was
cast in bronze. The artist was very specific about design and place-
ment. There was room purposefully left on the bench for people to
sit next to the statue.
The statue’s face was left very nondescript and described by
the artist as “Joe Public” to avoid the appearance of it looking too
much like any one person. According to the sculptor, there was
discussion early on by members of Main Street Clarksville to have
the statue be in the form of a riverboat captain, a man whittling,
or even a likeness of Sergeant Carter (the character played by
Frank Sutton, a Clarksville native, on the television show Gomer
Pyle).
However, according to Wise, as the deadline for the work to
begin on the statue loomed closer, the requirements from Main
Street Clarksville were reduced to merely a man sitting reading a
newspaper. In the end, Wise admits that the model for the statue is
his father-in-law.
In an interview, Wise stated that he found working on this
statue very liberating because there was so little oversight on the
finer details of the statue. He said there are probably fingerprints
of his that were transferred from the clay model to the casting of
the bronze. A local printing company is responsible for the transfer of the actual front page of the Leaf Chronicle from newspaper,
via a rubber stamp, to the clay model that was bronzed.
The statue cost approximately $38,000 which was comprised of
private funding and state monies. Of the $38,000, The Leaf Chronicle and its parent company, Ganett Publishing, donated $15,000.
This donation was split between The Day After and Wise’s statue
of John Montgomery.
The statue was unveiled during a public ceremony that was
attended by approximately 50 persons on Oct. 30, 2003. After it’s
unveiling, Main Street Clarksville donated the statue to Montgomery County because it sits on county land.
photos by marlon scott
March of ‘the Doughboy’
Clarksville’s WWI dedication withstands
moves and vandalism
By Troy Brown
T
here have been few monuments in the
history of Clarksville that have had as long
a lifespan as the Doughboy. This statue of an
American soldier holding a grenade in one hand,
his rifle in the other, was dedicated to those who
fought for the U.S. during World War I. It is one
of Clarksville’s most beloved pieces of civic art.
Since its dedication in 1929, this statue has had
an interesting existence. It has seen generations
of Clarksville High School students grow up
before its marble eyes. It has also been relocated
around Clarksville several times.
According to The Leaf-Chronicle, the statue
spent 43 years in front of Clarksville High
School, before being moved to the armory on Ft.
Campbell Boulevard in 1972.
On April 15, 2010, the Doughboy was rededicated at its current location, in front of the
Transit Station on Legion Street, in downtown
Clarksville. Many descendents of World War I
Veterans were in attendance for the rededication, ceremony including the children of Alvin
York, one of Tennessee’s most iconic World War
I heroes.
The Archie Wood American Legion Post 7
Women’s Auxiliary took donations on every Armistice Day, November 11, in the 1920s for the
purchase of an American Doughboy statue.
According to Scott Wise, the man who refurbished the Doughboy, the original bill of sales
for the Doughboy shows the statue cost about
$4,000 in 1929.
It was one of the few Doughboy statues of its
type made out of stone. Wise said Clarksville’s
Doughboy is a rarity because it was sculpted
from marble. Most of them were cast out of
bronze.
The Doughboy statues were made by several
different artists, but there are two artists in particular worth mentioning in regards to Clarksville’s Doughboy.
The first is Ernest Moore Viquesney, an italian
born artist living in Indiana. Viquesney made
the Clarksville Doughboy in addition to several
other statues, some of which look very similar
to those made by the second artist, John Paulding. In fact, Viquesney faced a lawsuit in 1922
claiming his “Spirit of the American Doughboy”
infringed the copyright of Paulding’s statue,
“Over the Top”.
According to Wise, Viquesney eventually
lost the copyright to create the Doughboy, but at
some point, he continued to make them.
Maintaining the Doughboy
Although Clarksville’s Doughboy is rare
because it is composed of marble, it also requires
more maintenance.
Before the statue was rededicated in its new
location in April 2010, Wise refurbished the
piece. Before refurbishing the Doughboy, Wise
suggested making a cast of it, then having a
bronze statue made, while putting the original
one in a museum. This would have cost more
money, but it would have preserved the original,
preventing a need to repair the statue.
By 2009, the Doughboy’s face had all but
been destroyed. After spending over 80 years
outdoors, nearly all of the facial features were
eroded, from years of acid rain, weathering, and
shoddy maintenance, especially after vandalism.
The process of replacing the head of the
Doughboy was fairly straightforward.
The most challenging aspect was the face of
the Doughboy was totally unrecognizable due
to damage. This made it necessary for Wise to
basically create a new face from scratch. “I used
photographs [from other Doughboys] to try to go
from, but a lot of people say it’s me, and if you look
at it close enough, it probably is, because I’m [looking in] a mirror [thinking], ‘well, I need a nose,”
Wise said.
Although he used his nose for the sculpture,
the face in general was a generic face, modeled as
closely as possible to the photos he had to work
with.
Wise made some modifications to more accurately represent the gear U.S. soldiers used
during World War I. The helmet appeared to have
originally been modeled more closely to European
models.
Greg Williamson, a photographer for The LeafChronicle, had an authentic World War I helmet
that belonged to his great-grandfather. He allowed
Wise to use it to model the new helmet after. This
helmet was a little wider, and wasn’t as deep as the
original.
Wise also replaced the rifle and bayonet held
in the left hand of the statue. The original gun was
donated for scrap metal during World War II.
The process of replacing the rifle was not an
easy task. There were questions about what kind of
gun the Doughboy originally held. It also had to be
determined if the gun was supposed to be to scale,
because the piece itself is not.
“There are parts of [the Doughboy] that are [to
scale]. His hands are life size. His face is roughly
life size, but he’s only about 5 foot, 2 inches,” Wise
said.
Eventually the Enfield 1917 was chosen because
it was the gun primarily used by U.S. troops in
World War I. It turned out to be a perfect fit.
“Just like [the hand] had been carved [to hold]
it,” Wise said.
Vandalism of the Doughboy
During the Thanksgiving holiday in 2010, the
Doughboy’s left hand was broken. The gun it held
appeared to have been taken by vandals. A man
claiming responsibility for the vandalism turned
himself in. He returned the rifle in its original
condition, claiming the damage to the statue was
an accident.
“The man, 27, said he and friends were out
partying Thursday night, walked by the statue and
wanted to see if the bronze rifle was real. When
they pulled on the rifle, it broke the left hand of the
marble statue, ” reported Jake Lowary, staff writer
for The Leaf Chronicle.
The man’s identity was not released and no
charges were filed.
Photos by marlon scott
The Confederate Memorial
Clarksville honors
fallen Civil War Heroes
Landslide uncovers
nameless soldiers
By Andrea Osburn
C
emeteries throughout the South are dotted with ancient
memorials created to help soothe the wounded Confederate
hearts after Robert E. Lee surrendered at Appomattox in 1865.
Clarksville followed the tradition of honoring those soldiers
who fought bravely during the Civil War by erecting their own
Confederate Memorial. The Civil War was an important and
life-altering event for many families and the sizable monument
located in historic Greenwood Cemetery is a fitting tribute.
The following words are inscribed on the memorial:
T
he Confederate Monument, located in Greenwood Cemetery
is not the only monument in Clarksville dedicated to the men
who fought in the Civil War.
A shrine to unknown Confederate soldiers is located in Riverview
Cemetery, just blocks away from the Cumberland River. It is much
smaller than the Confederate Monument in Greenwood Cemetery, but is no less important to the families of the fallen soldiers
of the South.
More than 305 people including Confederate soldiers and nurses,
who died in a Confederate hospital in Clarksville, were buried in
the garden behind the Clarksville Female Academy.
The original graves were marked with wooden headboards.
However, in time these markers deteriorated, and specific knowledge of burial locations were lost.
In 1897, a landslide exposed some of the soldiers’ remains. As a
result, 127 unidentified remains were found, disinterred, and
re-interred in the Clarksville Riverview Cemetery.
This monumental task was performed under the supervision of
Commander Clay Stacker and the Confederate Veterans of Forbes
Bivouac.
In honor of
The heroes who fell
While fighting for us
In the army of the confederate states
(1861-1865)
Though adverse fortune
Denied final victory
To their undaunted courage,
History preserves their fame,
Made Glorious forever.
Confederate Memorial.
After the Civil War ended, many southern children were orphaned with no means of supporting themselves. In 1867, Clarksville’s Tennessee Orphan Society made it their mission to provide
a loving home for those unfortunate children.
To this end, the organization purchased the Thomas Munford
mansion, located high above the Red River on the Russellville
Pike. After the children grew up and eventually left the mansion,
the property was sold and the funds reverted back to the state.
This was an unfortunate turn of events because the money from
the sale of the orphanage was earmarked for a confederate memorial. Despite the turn of events, the Tennessee Orphan Society
took it upon themselves to gather the funds.
According to The Montgomery County, “Proceeds from all
kinds of benefits and sales were supplemented by donations from
Forbes’ Bivouac, the Hook and Ladder Company of fire fighters,
and concerned individuals. The Memorial Association, organized
in 1889, let the contract for the $75,000 monument in 1892, and
the unveiling was October 25, 1893.”
The monument is made of granite from Barre, Vermont. It
stands 48 feet 3 inches tall and 13 by 9 feet at the base. The crowning figure is an 8-foot tall, bronze, Confederate infantry soldier.
In addition, the memorial also features two more figures: a cavalryman and an artilleryman. Each of the 6-foot, 6-inch granite
figures rest on a pedestal on each side of the inscription.
All three figures were modeled from photographs of Confederate soldiers who had enlisted from Montgomery County: W.R.
Bringhurst; Calvary, Clay Stacker, and Artillery, Charles H. Bailey.
PHOTOS BY ANDREA Osburn
T
Cloud and Fire,
the Pillars of
Clarksville
By Troy Brown
he Pillar of Cloud, Pillar of Fire” is one of Clarksville’s more
recent pieces of public art. It was dedicated in April 2004,
during the city’s annual Rivers and Spires celebration. The piece
cost $35,000 and was commissioned by the Rivers and Spires
Committee, along with the Military Affairs Committee. It was
created by Gregg Schlanger, an Austin Peay State University art
professor. It was dedicated to all soldiers of all wars.
Schlanger said he designs his pieces based on the surrounding scenery. Originally, this was supposed to be an entirely different piece. It was supposed to be placed outside of Clarksville’s
Court House. The change of location forced the artist to come up
with an entirely new proposition.
“Examining the site, everything said to me ‘go up,’” Schlanger
said. This is because the new location is an area where more
people drive past rather than walk around.
The piece itself is a 30-foot tall steel pillar. There are four
beams of equal height erected four feet apart, in a square pattern.
“By day, I like that I can stand and look through it, and it’s an
open structure, I can see clouds through it. It can be a pillar of
cloud,” Schlanger said.
A constant burning flame sits on top of the monument. It symbolizes a beacon of light to guide the soldiers home, either in this
life, or the afterlife.
Between the beams are stones with quotes on them. One
of them is from Franklin Delano Roosevelt, and the other from a
John Henry Newman poem titled “Pillar of Cloud.” When asked
about why he chose the quotes listed on the pillar, Schlanger said,
“I didn’t want the quotes to be of the moment... but to have a
much broader reach.”
One of the quotes was created through a collaboration between
the Rivers and Spires Committee including committee member
retired Sergeant Major Darol Walker and Schlanger himself.
[This Pillar is] dedicated to the patriots that lit the flame of
freedom with their lives,
and to those who continue to fuel the flame
with selfless sacrifice and service to our country.
May this light lead them home.
This quote is an important part of the symbolism of this piece.
It applies to all of those who fought for their country, past, present,
and future.
The placement of the stones in the piece is significant as well.
The four pieces of stone were not placed parallel with the street.
They are actually turned to face the true north, south, east and
west axis.
“I put the stones in the ground that pointed to the four directions, so that it represents being here in Clarksville, it’s downtown,
but it’s reaching out globally,” Schlanger said.
The Pillar of Cloud, Pillar of Fire is one of Clarksville’s most
unique monuments, dedicated to all military personnel. This
piece is different than other monuments in Clarksville because it
is not a statue.
It is a symbolic pillar that reaches towards the heavens, lighting
a flame to guide our soldiers home after their long, hard battles. It
represents the peace they deserve, and the peace we are privileged
to enjoy ourselves, thanks to their hard work and sacrifice.
Photos by marlon scott
Brown celebrates APSU with
‘The Synthesis’
By Eric Martin
Photos by marlon scott
I
n front of the Felix G. Woodward Library on Austin Peay State
University’s Campus sits a statue with a very powerful meaning. The statue is an enigma, compelling people to stop, look and
wonder about its meaning.
The statue is titled “The Synthesis.” It sits in the middle of a
small garden surround by trees, flowers and other plants. The
sculpture was created by Clarksville artist and APSU alumni, Reverend Howard Brown. Brown graduated from APSU in 1984. He is
well known for his bronze sculpture of Wilma Rudolph.
“The Synthesis” is constructed of layers of polished marble
and is in the shape of a starburst with a hole in the middle. The
sculpture sits on a concrete base with several stainless steel plates
attached to it. These plates not only identify Brown as the creator
of the piece, but also has a description of the sculpture’s meaning and creation. Unfortunately, due to landscaping, the base of
the statue has been obscured and the stainless steel plates are no
longer visible.
There is rich symbolism in the sculpture. The hole in the center
of the sculpture represents all the people and events that lead students to APSU, as well as all of the people they will encounter and
work with while they attend the university. The starburst-shaped
marble represents all of the achievements students can achieve as
they go out into the world with their college education.
The piece has a mostly symmetrical shape with the exception
on one extension of the starburst shooting upward much farther
than the others. The inspiration for the piece came from a similar
acrylic piece Brown had previously completed.
The statue was created with considerable help from both the
University and from former APSU Art Professor, Dr. Olan Bryant.
Originally, the statue was supposed to be placed indoors. However,
due to its excessive weight, it was placed in front of the library.
The piece was unveiled in a small ceremony attended by APSU
leadership, faculty and local leaders as part of Tennessee’s Homecoming Celebration in 1986.
Tennessee Homecoming ‘86 was a state-wide, year-long celebration involving 647 communities across the State of Tennessee. It provided Tennesseans an opportunity to rediscover their
past, identify the uniqueness of their own communities and invite
other Tennesseans to celebrate with them. It served as a means of
showcasing Tennessee’s assets with the nation.
The celebration was co-chaired by two famous Tennesseans Alex Haley and Minnie Pearl. Haley, the Pulitzer Prize winning
author of Roots , hails from Henning, Tennessee. Grand Ole Opry
star Minnie Pearl is from Centerville, Tennessee.
In an unfortunate twist, the piece was actually misnamed at its
unveiling. It was referred to as “The Bicentennial Piece.”
Deel illustrates Clarksville
is ‘Bursting with Pride’
By Marlon Scott
Photos by marlon scott
O
ne of the most unique pieces of civic art in Clarksville is
located downtown on Franklin street, a food and entertainment hub of the city. Women shopping for accessories in Rogate’s
Boutique, students looking to unwind at the Front Page Deli and
families excited about the latest play at the Roxy Regional Theatre
are a small sampling of the thousands of people who have passed
by and probably stopped to admire this work of art.
Since it measures 10, 000 square feet, it is hard to miss.
Bursting with Pride is a 10, 000 square foot mural created by
artist and APSU alum Ricky Deel in the summer of 2000.
The mural depicts several buildings in Clarksville of historical
and architectural significance. Those same buildings were damaged by the, now infamous F3 tornado that struck Clarksville on
Friday, Jan. 22, 1999.
The tornado ravaged the city, damaging 562 buildings and
destroyed 128 more.
The mural commemorates the cities restoration from the devastating natural disaster.
Deel said he was asked by the late APSU Professor Emeritus of
Art Max Hochstetler to do the mural for the city.
“I worked with a board from the city on the design. They told
me they wanted certain buildings from the area and I went from
there,” Deel said.
Among the 15 buildings depicted in the piece are the Montgomery Court House, the Smith-Trahern Mansion, the Immaculate Conception Catholic Church and APSU’s Browning Building.
In the mural, the buildings are randomly placed; separated
by trees, under a cloud- filled, blue sky in a panoramic view. As
impressive as the sheer size of the piece is, equally impressive is
the level of detail painted into the subjects and background, which
becomes clear upon closer inspection.
It is painted on the side of an older, three-story brick building that houses a real estate office on the bottom floor. The mural
overlooks a parking lot adjacent to the Roxy Regional Theatre.
Deel said he painted the mural in the summer every day for
three months.
“ I first primered the wall with a block sealer. The wall, which
is a brick stamped cinder block construction, had a lot of pitting
so it needed a primer to hold the paint,” Deel said. “I pretty much
started on the left hand side drawing and painting as I went. The
paint I used was an Exterior Porter House Paint.”
Deel said he had never done anything that big before or after.
Besides the size, he said the most difficult part ofthe process was
dealing with the summer heat.
“It was hot,” Deel said.
While thousands of people still walk down Franklin street in
downtown Clarksville and marvel at Bursting with Pride, it has
been a long time since Deel has personally seen his work.
“It’s been a little hard to actually get back to Clarksville. I
moved to Orlando for a while, then up to Champaign,” Deel said.
“Now I am in Seward Alaska. My parents from time to time see
the mural in an ad or on television and let me know.”
Wise remembers fallen firefighters
By Wilson Mendez Jr.
S
ept. 11, 2001 is a day that will forever live in infamy as one of
the greatest American tragedies of this or any generation. It is
with this sentiment the Firemen’s Memorial, of all of Scott Wise’s
body of work, resonates very personally with him.
Wise has served as Clarksville fireman since 1997. As the
events unfolded on Sept. 11, 2001, Wise watched television with
his fellow firemen on duty with a sense of helplessness. On that
day three hundred and forty three firemen gave their lives trying
to save other lives in the line of duty like they were trained to do.
The memorial was not commissioned by any specific group or
organization. Its initial concept
began with Wise himself. He
gave his personal time and effort to pay remembrance in his
own way.
The project was coordinated
by Captain Danny Perry. Perry
works out of Fire Station one
on Eighth and Main St. in
downtown Clarksville where
Wise currently works and the
memorial resides.
The piece is a ½ life size
bronze sculpture of a fireman’s boots with the helmet sitting on
top of them. It rests on a granite block donated by Clarksville Memorial. On the front of the piece sits a plaque with the names of
those in Clarksville who lost their lives on duty. A crucifix made
of bronze adorns the back.
Only three names are on the plaque: Claude B. Welker Dec. 3,
1960; George “Pen” Wilson May 13, 1967 and Ray Harrison Aug.
21, 1981. Traditionally this is how firemen have honored those
who gave their lives in the execution of their duties. It is similar to
the way the armed forces honor their fallen soldiers.
Out of the tragedy came a sense of unity throughout our nation. This spirit of unity also guided the project. Various businesses in and around Clarksville contributed monetarily to Wise’s
endeavor. He kept his work at the fire station and worked on it
when time permitted.
The piece took him over two years to complete. The cost of
sending it out to a foundry for casting was covered by The Leaf
Chronicle. The memorial was unveiled on September 11, 2004, as
part of an annual ceremony dedicated to fallen firefighters every
Sept. 11th.
Wise said, “In doing the piece, I feel like I have done something
for the families, for their loved ones to remember them by.”
“In doing the piece, I feel like I have
done something for the families, for
their loved ones to remember them by.”
-Scott Wise
Photo by Wilson Mendez Jr.
C
Children splash
in Strawberry
Alley fountain
By Lance Powell
larksville is a converging ground for people from many
different backgrounds. Lately, city government has strived
to continue with a beautification process that not only enhances
the downtown area, but also works to give the diverse citizens of
Clarksville a means to connect. What better way to connect these
lives than through children? The Strawberry Alley Children’s
Fountain accomplishes just that. It enhances downtown Clarksville with beauty, grandeur and artistic charm.
Placement of the fountain was most likely attributed to a
revitalization project in the vicinity of Legion Street, half of which
was renamed Strawberry Alley three months prior to the uncovering of the fountain. The contractor involved with the revitalization project solicited proposals from a variety of vendors in order
to acquire a fountain. However all of the initial proposals were
declined by the city because they “were fountains like you’d find
in every other community.” Eventually, the proposal for this piece
came about.
In Nov. 2008, Custom Marble Specialist, a Florida-based company, began the installation of the fountain. Composed of marble
and bronze figures, the piece was completed in mid-November
and formally unveiled to the citizens of Clarksville on Nov. 25,
2008.
At more than 20-feet tall and 15-feet wide, the fountain is a
grand piece. The fountain has a stepped centerpiece that flows
down to the large pool at its base. It is adorned with 18 bronze
statues of children in playful poses, ranging from a pair of children sharing a ride on a scooter, to a little girl drinking from a
water fountain.
The piece expresses the urgency of Clarksville’s need to nurture and care for the community’s children. Most noticeable is a
child “wearing a graduation-style mortarboard on his head,” who
is sitting “astride a globe at the fountains apex.” Clarksville Mayor
Johnny Piper referred to him as “Tennessee’s Top Spot Youth.”
Piper said, “We are focused on the youth of our community
because they represent our future.”
The unique fountain was made possible by a donation of
$102,734. The donation covered the cost of construction and
placement. At the public unveiling, it was announced Clarksville
businessman Jack Turner and his sister, Jill Crow, donated the
money in honor of their late father, Ajax Turner.
Turner said, “We do this in honor of a man who was always
grateful to the city, who loved this city”
Photos by Lance Powell and Marlon Scott
Diehr creates ‘The Gateway’ to APSU
By Eric Martin
T
here are very few pieces of art in Clarksville as steeped in
symbolism as “The Gateway.” “The Gateway” is a sculpture
created by Austin Peay State University professor of ceramics and
sculpture, Dr. James Diehr. The statue was constructed during the
summer of 1986 after being commissioned by then APSU President, Robert O’Riggs.
The statue, which was created as part of the 1986 Tennessee
Homecoming Festival, sits exactly 86 feet inside the main entrance
to APSU. It was made with concrete and Cor-Tin Steel which is a
copper tin alloy.
Diehr’s inspiration for the statue has both historical and
personal significance to the sculptor. After the piece was commissioned, Diehr spent an hour on a bench in front of Browning Hall
writing down some of his ideas on education and the university. With Browning Hall as a backdrop, Diehr’s mind turned to
thoughts of independence.
Browning Hall is designed after Independence Hall in Philadelphia. In addition, students are given independence through their
education. This triggered a memory in Diehr’s mind of a “Christmas decoration that his family had when he was a child which was
a half of a bell in profile and could be opened into a full round
bell made of red paper created by expanding cells.”
The base of the statue is concrete slabs designed in the shape
of books. The books symbolize a store house of knowledge. On
top of the books is a bell-shaped, steel structure with the outline
of a person carved out of the middle. The person, when looking
in towards the university, symbolizes the students entering APSU
to gain their education. When looking outwards from campus, the
human figure represents the students of APSU going out into the
world to get jobs with the benefit of their education.
According to Diehr, “The figure is surrounded by a profile bell
shape which has the dual meaning of representing moments of
learning and liberty. At the top of the piece is a crucible shape
with a flame that suggests learning and insight based on the mix
of a liberal arts and science education.”
On either side of the bell is a ladder. The ladders represents
how learning helps us rise above “frustrations and situations” and
find solutions to problems. The center of the statue is embedded
in concrete shaped like a keystone. Historically, like the keystone
found in the center of a roman arch, it signifys strength and stability.
Sadly, most of this symbolism is lost to the casual viewer
because no explanation is present at the site of the piece. Diehr
was promised a plaque describing the significance of each facet of
the sculpture was going to be placed on the statue. However, it was
never done.
During the tornado of 2003, the statue sustained damage. The
steel portion was pushed back to almost a 45-degree angle by the
force of the wind. It took a week to complete the repairs on the
statue, but it was restored to its original state.
The statue was unveiled at a small ceremony in 1986. The
ceremony was attended by local leaders, university administration
and faculty.
Photos by marlon scott
‘A Sentinel’
sits at APSU
By Marlon Scott
A
Photos by marlon scott
long with the many buildings at Austin
Peay State University, the sun shines on a
bronze monolith during the day. At night, four
flood lights illuminate the over 10 foot sculpture
which sits prominently outside the Morgan University Center raised on a stone dias, looming
like some ancient warning from a lost civilization. In reality, “A Sentinel” sits at Austin Peay
State University.
“A Sentinel,” is a sculpture created by one of
Tennessee’s most revered artist, Olen Bryant. Although, Bryant graduated from APSU’s most infamous rival, Murray State University, he taught
art for 27 years (from 1958-1991) at APSU.
He was a Professor of Art and the Chair of
the Sculpture and Ceramics Department at the
University and has attained professor emeritus
status. Bryant is credited with 22 exhibitions
and has also received several awards. In 2007, he
won the Distinguished Artist Award during the
Governor’s Awards for the Arts.
Bryant has several pieces on display at APSU,
however, “A Sentinel” is arguably the most recognized. Finished and erected in 1985, the piece
is the centerpiece of a recessed bowl located just
outside the Morgan University Center Plaza.
It is composed of bronze but resembles algae
covered stone. The base is a four-sided pillar. The
piece then flows from a pillar to a man sitting
with his arms raised in welcoming fashion.
The piece is a prime example of Bryant’s style.
He uses natural materials, wood and metal,
and keeps the designs simple. The title, “A
Sentinel”, implies the piece is a guardian. This
supposition is reinforced by the words engraved
on each side of the base. The engravings are the
following:
“Loyalty is important in all important
things.”
“Build your character on the solid rock
of integrity.”
“Act with candor in every matter.”
“Be courageous in every act of life.”
The open, smiling face of the piece does not
intimidate or intimate a fierce guardian as in the
style of gothic gargoyles. Instead, with the open
arms, the piece is inviting. It welcomes viewers to
share the wisdom engraved on its base.
It has also been suggested the piece is a large
seat. However, its placement in a flower bed does
not welcome viewers to interact with the piece.
In addition, the dirt and flowers cover the words
along the base on all sides.
It begs the question, “Did the placement of
the sculpture coincide with the wishes of Bryant?”
Customs House cultivates civic art garden
By Marlon Scott and Synthia Clark
T
he Customs House Museum and
Cultural Center sits in downtown
Clarksville only a few blocks from the Austin Peay State University campus on the
corner of Commerce and Second St.
One of its several eclectic features is
an outdoor, gated garden named after its
sponsor, the First Federal Garden.
In the First Federal Garden sits four
civic art pieces created by three different
artists. However, when stepping through
the black, wrought iron gates onto the old,
brick cobblestone courtyard of the garden,
none of these four pieces is easily seen.
The first thing that draws the eye is
the large, stone James and Betty Corlew
fountain sitting prominently in the center
of the garden. An observer would have
to look to the left of the fountain, next to
the entrance to the center, at ground level
among the greenery to see a piece by Olen
Bryant.
In 2007 an exhibit, entitled Olen Bryant:
A Retrospective, was hosted at the Customs House to celebrate his achievements.
His statue was put on display during this
exhibit and he ended up donating it to the
museum.
At first glance, the piece looks like a
light colored, large stone. The only indicator it is a sculpture is the small, square
marble pedestal it rests on. Upon closer
inspection, details reveal the stone has
been worked. It is one of Bryant’s Sleeping Stones. He creates the simple pieces to
serve as restive pieces to be displayed on a
desk, table or garden. They take minimal
shaping and smoothing and the work flows
with the natural shape of the stone. They
are set out in the open to be touched. The
one adorning the First Federal Garden is a
prime example of Bryant’s work.
Nearby, closer to the front gates of the
garden, sit two pieces created by a former
student of Bryant, Tom Rice. Rice was
the curator of the exhibit, Olen Bryant: A
Retrospective.
On the ground sits Rice’s a base and
lines etched in both sides radiating from
a center hole like spokes. The edge is first
piece, a large stone wheel. It was donated in
1999. One solid piece, the wheel has split
Photos by synthia clark
as if the wheel would roll along a groove or
rut. The lines appear to be chiseled in, giving the whole piece a medieval feel.
Next to the stone wheel is a red, clay
bird sitting on top of a thin pole staked
in the ground. The bird is engraved with
Rice’s name and is dated 2001. Also, on
the side are the words “Flying High”. Rice
earned his bachelors at APSU and his
masters at the University of Tennessee in
Art Education.
Like Rice APSU alum Mike Andrews
claims Bryant as a mentor. Andrews created the fourth piece in the garden. It sits
in the back of the courtyard, in front of a
brick wall. Andrews’ statue was donated in
1996 and is made of limestone. It appears
to be a rolled sheet or slab of limestone set
on its side and mounted to a base. Unlike
Rice’s wheel, Andrews piece has a modern feel because of its smoothness. It has
no marks or plaque to identify the piece.
Instead, it rests enigmatically in the back
of the Custom House’s flower and art filled
garden.
L
Lugar immortalizes
Lenora Witzel
and Nettie
By Sherry Bland and Marlon Scott
enora “Nora” Witzel was an infamous figure in Clarksville.
She has been described as a pioneer, a rebel, scandalous and
a gem. According to Jackie Littleton, “To most Clarksvillians, if
they thought of her at all, Miss Nora was an eccentric, an oddly
dressed, “mannish” woman doing a man’s business.”
Regardless of how many different people saw her, what is
certain is that for almost 30 years Witzel photographed the
people and architecture of Clarksville. She worked out of her own
photography studio located at the ML Clothing Store at 123 ½
Franklin Street in Clarksville. For all these reasons, Witzel was
immortalized in downtown Clarksville, on Third Street outside of
the Montgomery County Courthouse.
Andrea Lugar of Lugar Art and Bronze Foundry in Arlington
Texas created the life-sized bronze cast of Witzel and her dog
Nettie. She answered an ad placed by The Rivers and Spires and
Public Arts Committee in August 2006. The statue was unveiled in
April 2007.
The piece reflects everything Witzel was known for. Her
expression in the piece is ambiguous, neither a frown nor a smile.
Also, her hair is pulled back the way she wore it in life to keep it
out of the way of her work. Witzel was known for being practical
instead of flashy. Littleton said, “She felt no need to move with the
whims of changing fashion.”
This attitude is also depicted in the statue by the clothes Witzel
is wearing. Witzel’s trademark uniform was a navy blue serge suit
with high-laced boots. This “mannish” outfit gave her the freedom
to move and climb to take her pictures.
Lugar included great detail including the laces in the boots,
buttons on the jacket and the intricately decorated brooch pinned
on Witzel’s collar. The same level of detail can be observed on
Nettie as well. Lugar added texture to Nettie’s fur, almost individualizing each hair. It is also evident in the dog’s expression as it
patiently sits waiting for its master to take a picture.
Also of note is the camera Witzel is holding. The old fashioned
smaller, more portable camera resembles a box. Witzel was often
sighted with this camera as she ventured into obscure areas capturing different angles of Clarksville. Witzel used a much larger
studio camera for portraits. This camera is in the Customs House
Museum and Cultural Center along with some of Witzel’s prints
and negatives. According to Littleton, Witzel’s lifetime of photographic negatives and equipment were sold at auction when she
entered a nursing home in 1968 at age 91. She was 93 when she
died in the nursing home.
Whatever people believed about Witzel, her impact on Clarksville has been forever marked by Lugar’s work.
Photos by marlon scott
Wise sculpts the face of Austin Peay
By Wilson Mendez Jr.
T
he life size bust that sits in the Morgan University Center on
the campus of Austin Peay State University is dedicated to the
memory of Governor Austin Peay for whom the university derives
its name. Peay served as the governor of Tennessee from Jan. 16,
1923, when he was inaugurated into office, until his death on Oct.
2, 1927.
The university was named in his honor in 1929. Scott Wise was
commissioned by the APSU National Alumni Association. The
project was coordinated by Sheila Boone, who at the time was
the alumni director, and Nelson Boehms, president of the APSU
National Alumni Association.
Wise’s favorite aspects of any work he is commissioned to do
is dealing with one individual or a small group of individuals and
the artistic freedom he is given to create the piece once he is given
the idea or concept.
The greatest difficulty in creating this sculpture was the lack of
photographic references of Austin Peay to work from. Wise normally takes several pictures at varying angles of a model in order
to capture life like semblance.
Ironically, because of the limited photos available, Wise ended
up using Austin Peay, the late governor’s great grandson who was
named after his great grandfather, as the principle model for the
sculpture. Wise found the facial similarities between the great
grandfather and his great grandson uncanny.
Wise serves as a Clarksville fire fighter. He worked on the piece
during his downtime at the station one fire department located
near Outlaw Airfield and on his days off.
Once completed, the piece was sent to the Lugar Foundry outside of Memphis Tenn. There, it was cast for molding. The piece
was cast inWise’s favorite material, bronze. It is his material of
choice because it has a lifetime of durability if properly cared for
and maintained.
A wooden cabinet was built specially for the piece. On the
front of the cabinet is a plaque that gives a brief history of the bust
and its significance to the university. The bust sits on red marble
on top of the cabinet. Wise indicated the process from conception
to completion took between six and seven months.
The unveiling took place during the Governors Gala held
at Emerald Hill on May 10, 2002. Wise attended the event with
his wife Lisa Wise, Sheila Boone, Nelson Boehms and several
past alumni directors. The likeness of Austin Peay was met with
approval by the remaining Peay family who still reside within
Clarksville.
The bust has been moved within the Morgan University Center
a few times over the years, but no matter where it rests its significance and meaning does not change. The piece pays tribute to a
man who was well respected and admired his vision of moving
toward a brighter future for Tennessee.
Photos by Wilson Mendez
Photos by marlon scott
The Legend of
Wilma Rudolph
By Marlon Scott
W
hen the sun rises over Clarksville and clears the mist over
the Cumberland River, it also sheds light on the likeness of
Clarksville’s most famous woman athlete. At the intersection of
College Street and Riverside Drive, next to the pedestrian overpass sits a bronze statue of Wilma Rudolph.
The fastest woman in the world, the black gazelle and the black
pearl are just a few of the names the legendary Wilma Rudolph
earned after she won three gold medals at the 1960 Olympics in
Rome. Her story of rising from poverty and childhood disease
to Olympic fame as well as her incredible list of awards is well
known.
It is no wonder Clarksville renamed a street after her in 1994
and later erected a statue in her honor. In fact, June 23 is Wilma
Rudolph Day in Tennessee.
The statue was created by local artist Howard Brown. Alum of
Austin Peay State University, Brown has several pieces displayed
in Clarksville. He was also a friend of Rudolph’s family.
Brown said after being commissioned to do the piece he spoke
with some of Rudolph’s family members about what to create. He
also said when he began work on the piece; he didn’t start with a
sketch or mock up. Instead, he just sat down and started working
with the clay.
Inevitably, Brown ended up creating Rudolph in her classic
crossing the finish line pose.
This pose features Rudolph in her running clothes and shoes,
her legs extended in her running stride, only her toes touching the
black, marble base. Rudolph’s arms are both bent with the hands
palms open and her head is thrown back, extending her chest
forward to break the finish line tape.
The statue is a snapshot of Rudolph doing what she is best
known for, crossing the finish line first.
Brown said after he constructed the model it was then cast in
bronze at the Bright Foundry in Louisville, Ky. He admitted the
six-step process it took to cast the work in bronze fascinated him.
The foundry first makes a mold of the piece using rubber to
capture the details and textures the artist intended. Next they
apply wax which helps create a clean bronze surface. The waxes
are then hand dipped to create a ceramic shell that preserves the
surface quality of the original work.
With the shell made, the molten bronze is poured, recreating
the work in bronze pieces that are welded together and finished
with a patina that is developed with the artist to create the artist’s
vision of the piece.
Because of the size of the Rudolph statue, it had to be divided
into three large pieces. Brown drove the pieces back to Clarksville
himself for the reconstruction on the specially made black, marble
base.
The base resembles the short stair Medal winners stand on
to receive their awards in the Olympics. The front has Rudolph’s
name inscribed in gold. On the top directly under Rudolph’s figure
reads the following:
USA
The First
Woman Athlete to win
Three gold medals
In one Olympics
Rome, Italy 1960
The statue and base both rest on another stone base adorned
with small bronze plaques. Each plaque came from an organization that contributed to have the piece made.
A plaque behind the piece lists all the individual contributors.
The piece has been moved twice since it was unveiled in 1996.
It was originally unveiled in McGregor Park. Later, it was moved
to the Customs House Museum and Cultural Center before finally
placed along the Cumberland River.
The statue is a fitting testament to a revered local legend.
Clarksville is awarded
‘The Purple Heart Monument’
By Wilson Mendez Jr.
T
he Purple Heart is a military decoration presented to those
who have been killed or wounded in the line of duty in service and protection of our country. The Purple Heart Monument
that sits at Patriot’s Park on Fort Campbell Boulevard in Clarksville is a testament and a reminder of that fact.
The placement of the monument itself was a joint collaboration between the Military Order of The Purple Heart Service
Foundation and the Tennessee Military Order of the Purple Heart
Chapter 457 in addition to assistance from the city of Clarksville.
David Ross, who is a Vietnam
era and Desert Storm/Shield
veteran, was a past department
commander for the Military
Order of the Purple Heart
(2002-2003) and was one of the
four main department members associated with the project
when it was first proposed in
2003.
Initially, the idea for the
monument was shopped around several cities within Tennessee,
including Chattanooga, Memphis, Knoxville, and Nashville. The
organization decided on Clarksville when the P.O.W. monument
was placed in Patriot’s Park.
Ross estimated nearly 99 percent of all P.O.W. /M.I.A. soldiers
are Purple Heart recipients. In addition, state highway 41A is a
part of the Purple Heart Trail. The organization found this parallel
very poignant when considering Clarksville.
The Purple Heart Foundation provided the funding to have the
monument made. It is an artist designed piece used in at least 28
states within the continental U. S.
The monument was transported and placed in Patriot’s Park by
the Clarksville Memorial Company. They, along with the city, also
provided the base for the monument. It was unveiled on Dec. 30,
2005, with at least 30 people in attendance for the ceremony, including Ross and James Cowan. Cowan was the actual department
commander for the MOPH during the placement of the monument as well as a member of local Chapter 457 and city officials.
I believe Mr. Ross said it best about the piece’s significance to
this community, “The monument is to remind the people of this
town of the true cost of war.”
“The monument is to remind the people
of this town of the true cost of war.”
-David Ross
Photos by Wilson Mendez JR.
‘The Millennium Fountain’:
the new face of Clarksville
By Marlon Scott
“On Jan 22, 2003 my family and I stood with
the residents of Clarksville who proudly gathered for dedications of the restored Montgomery
County Courthouse, Millennium Plaza, and the
new Montgomery County Courts Complex.”
hese words are from the article “The Bronze
Fountain” written by metal smith/sculptor John Medwedeff. The article was originally
published in the Fabricator and again later in
The Leaf Chronicle. In the article Medwedeff
describes how he came up with and eventually
created one of Clarksville’s most modern, unique
piece of civic art, “The Millennium Fountain.”
The 16’ bronze fountain sits in Millennium
Plaza, reflecting in the shiny windows of the
state of the art, Montgomery County Courthouse and Courts Complex. It is a sharp contrast
to the old courthouse, an exact replica of the
original building built on that site in 1878, which
also surrounds the plaza.
Both the fountain and the plaza are the result
of the reconstruction of Downtown Clarksville
after the infamous F4 tornado struck on January
22, 1999, damaging 524 buildings and destroying
124.
Montgomery County was designated an
official Millennium Community by The White
House Millennium Council launched by Hillary
Clinton.
Subsequently, the plaza and fountain were
named for the adopted theme. A Call to Artists
was issued to create a piece to be featured in the
new plaza and Medwedeff was one of 80 artists
who answered the call. He was eventually chosen
as one of five finalists. As a result, he had to submit a scale model of his work.
In his article, Medwedeff described how he
began to create his fountain.
“When I begin to design, I concentrate on
the question of design relative to a specific site
and my aesthetic. I draw and build test models
until I am confident that I have realized a form
that is correct in proportion and style to the site,
it’s intended function, and how viewers may
perceive it.”
Medwedeff said he had to overcome several
challenges to come up with and eventually create
the design that was selected as the winner in
T
Sept. 2001. He said the elements in the sculpture
were based on the movement of water in a wave.
Observers of the piece are compelled to follow the long fluid lines of curving bronze that
narrow from a ball of waves into a single spike
jetting skyward. Equally impressive is the water
serenely cascading from a small pool in the
middle of the piece to the large pool at its base.
Because Medwedeff ’s piece was a fountain a
lot of planning and adjustments had to be made
to integrate the working water feature into the
sculpture. However, among this endless list of
considerations including maintenance, lighting, and wind the one thing Medwedeff did not
consider was Christmas.
For 11 month’s of the year, “The Millennium
Fountain” sits in the Millennium plaza drawing
the eyes of people passing by. But, in December
the fountain mysteriously disappears and in its
place sits a 16’ illuminated Christmas tree.
Photos by marlon scott
Montgomery camps in Clarksville
By Eric Martin
T
he statue of John Montgomery, a man who many credit with
the discovery of the site that would later become Clarksville,
Tenn., is located in front of Clarksville City Hall, facing Strawberry Alley downtown.
Main Street Clarksville in conjunction with the Arts and Heritage Development Council commissioned the statue
Montgomery came to what is now Clarksville 235 years ago.
He is said to have named the site after his friend, Gen. George
Rogers Clark. While not the first person to travel through the area,
Montgomery was the first to establish a temporary settlement here
during a long hunting trip.
Scott Wise, a Clarksville firefighter and local sculptor, was
selected to create the piece. Wise has created numerous pieces of
civic art in Clarksville including “The Day After,” which is located
in downtown.
The statue was originally molded out of clay and submitted for
approval. Once approval was given, it was cast out of wax and rubber before it was bronzed.
The statue was unveiled at a public ceremony in 2002.
Photos by marlon scott
Acknowledgments
T
his monograph is the result of an extraordinary interdisciplinary effort on the part of the Austin Peay State University
students, administrative staff, faculty, and the citizens of Clarksville. The idea for this project came from students enrolled in PM
3250, The Principles and Practice of Urban Planning.
While studying the Municipal Art and the City Beautiful
Movements, students became aware of the role citizenry plays in
community aesthetics. This led them to ask, “What are the stories
behind the sculptures located throughout the city of Clarksville?”
We thank the following people and organizations for their support:
President Timothy Hall, Provost Tristan Denley and the APSU
Faculty Senate for providing a Student Academic Success
Grant;
The Clarksville Arts and Heritage Development Council;
The APSU research librarians: Inga Filippo, Nancy Gibson,
Sharon Johnson and Philenese Slaughter and Christina Chester
Fangman;
Dr. Gregg Schlanger, APSU Art Department for being our
subject matter expert;
Dr. Mike Gotcher from the APSU Communications Department for allowing us to use the department computer laboratory and Ms. Melony Shemberger and her students for
providing the copy editing;
Ms. Michele Tyndall, APSU Public Relations and Marketing for
providing printing support;
Dr. Mohammed Waheeduzzaman, chair of the Department of
Public Management and Criminal Justice;
All the citizens and artists who provided interviews.
Photo by synthia clark
References
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Personal Communications:
Tom Rice
Ricky Deel
Scott Wise
Jackie Ashby
Gregg Schlanger
Howard Brown
Dan Conyers
Mark Holleman
JIm Diehr
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