Concrete Country: Pier 865 in the Cradle of Country Music Park
mixed reception *
mixed reception *
This past First Friday, at the intersection of Gay Street and Summit Hill, the Cradle of Country Music Park unveiled its newest facelift. Pier 865 stands on a brutalistic tongue-shaped platform in sweeping swaths of towering teal blue and green. Designed by Marc Fornes of THEVERYMANY, the lightweight aluminum canopy structure is meant to function as a “performative” space that “sits between Knoxville’s downtown theater district and its Old Town neighborhood,” writes Fornes’s website.
Love it or hate it, Knoxville’s newest public art sculpture is permanently affixed to this conspicuous placement. Pier 865 was paid for by the City of Knoxville for $1.2 million (0.2% of their total budget).
After a near decade-long gestation period, a call for artists that failed to place any Knox locals in the top five finalists, protests against tree removal, and pandemic setbacks, this sculpture has finally been birthed, and is now tucked into the Cradle of Country Music Park.
Or, should we say, protruding from the park. A large concrete 'plinth' juts out from the ground, supporting the metal sculpture. As Dustin Durham, from advocacy group Yes! Knoxville says, “It is meant to be a gathering place for events and to potentially reconnect the 100 Block to Market Square, encouraging a more vibrant and walkable downtown.”
During its construction over the winter, Hellmouth approached the two men who were installing the small, triangular pieces in a scale-like pattern, hoping to speak to the artist or assistant. However, they were neither—Fornes does not come to his sculpture sites until they are fully installed.
In fact, the installers had no contact with the artist, contracted out via a different installation company. When requested for comment on the artwork, they said, “The project is very NDA.”
Sculpture in progress
According to Compass Magazine in 2022, Liza Zenni of Knoxville’s Art and Culture Alliance, “emphasized that the sculpture—a flowing, aluminum-clad canopy in Fornes’ signature style—was designed specifically for the park. From one angle, the curves of the piece mimic the bends of the nearby Tennessee River; from another perspective, the profile suggests the ridgetops of the Great Smoky Mountains in the distance to the south.”
Indeed, Fornes’s website harkens to similar natural landmarks as inspiration for the design, citing its visual kinship to a “grove of old growth.”
With loop columns, volumetric rings, and self-supporting cantilevered wings, the curvaceous structure is built via a method of progressive assembly—a very precise sequence in construction, as if building a three-dimensional puzzle from laser pre-cut pieces.
For passersby on First Friday, it struck people more as the fantastical world Pandora from the Avatar movies than the Smoky Mountains; others saw mushrooms, some found it ugly, and a visitor from Detroit thought it reminiscent of the Spanish architect Gaudí’s organic shapes. This aligns with the artist’s stated purpose of “provid[ing] an otherworldly experience for its visitors.”
What’s The Point?
Pier 865 was supported, planned, funded and/or implemented by the Public Arts Committee, the City’s Urban Forestry and Horticulture divisions, the state of Tennessee, Visit Knoxville, and the Downtown Knoxville Alliance. The Public Arts Committee’s purpose is "to enhance the reputation of the community, contribute to the civic environment, and enrich the lives of citizens and visitors through the involvement of professional artists to integrate public artwork throughout the City."
Proposed sculpture of Knoxville artists Preston Farabow and Brian Scott Pittman, Aespyre Metals
Marc Fornes and his Brooklyn-based design firm were selected by the Committee and the City of Knoxville, beating out several other proposals, including those from local sculptors and artists such as Preston Farabow and Brian Scott Pittman of Aespyre Metals.
Pittman wrote that their collaborative design was an open air steel structure made out of scrapped metal parts from around the city, including trolley tracks. It would have functioned as a stage or wedding venue, with flagship quotes by Knoxvillians engraved within the structure.
However, according to Zenni, Pier 865 is just as characteristic of Knoxville. “Every plane of that canopy has something to do with Knoxville, if you know where to look,” she said. “We wanted something iconic and something that creates a sense of place.”
So, just how unique is Pier 865?
Marc Fornes’s portfolio certainly boasts of some high-profile projects—including pop-ups with Louis Vuitton and Yayoi Kusama—and the silhouette of his structures is certainly characteristic of his flowing, geometric architectural philosophy.
As his newest structure roots into the heart of Downtown Knoxville, another one “defines an anchor in an active campus path, [offering] a destination for casual student meetups and study breaks.”
The Zephyr at Texas Tech University in Lubbock, Texas is not only strikingly similar in its form, color, function, and content, but is a near-literal carbon copy. Fornes’s copywriter poeticizes, “Under a canopy, the campus community will find a slowed moment of peace, as if carried away by pleasant, westerly wind.” For in this context, the iconography is not mirroring East Tennessee’s landscape, but rather finds kinship to the open-air of Texas.
Instead of being special to Knoxville, it’s giving Anytown, USA.
Left: A rendering of Cradle of Country Music Park upgrade. Image courtesy of City of Knoxville.
Right: ZEPHYR, Texas Tech University - Lubbock, Texas. Image courtesy of Marc Fornes.
This, of course, begs the question:
Can Pier 865 operate as a flagship visual landmark to the cultural identity of Knoxville if its motif waves across several other locations in America, simply redefining its visual meaning through minor copy edits?
Community member Tanner Jessel pointed out that “It’s not a carbon copy per se, but similar enough [to other edifices] to jettison any claim of being ‘uniquely Knoxville.’” For the record, Jessel doesn’t see public art as a waste of money, rather hopes for it to aspire to more compelling works. I agree, with my personal hopes being that art can actively benefit the public rather than only beautify an area.
What’s the consensus? Was it worth it?
From what we heard on the street, people are intrigued, if not a little confused. From what we've seen online, people are angry. Much of the anger towards public art spending springs from dissatisfaction with the city's efforts in other areas.
This public artwork is estimated to have cost the city $1.2 million (0.2% of the city’s 2023-25 full budget $461.6). One upset Facebook commenter noted: “$1.2 million but couldn’t approve a raise for employees. $1.2 million but our roads are deteriorating. $1.2 million and there are people dying on the streets. $1.2 million of our hard earned tax payers money. How many more millions will we allow the City of Knoxville government waste?” (Dylan Tapp).
One online comment called it “dreary, unimaginative, condescending, and political.”
Another pointed out “Could have housed a lot of homeless people for that kind of money.”
It is hard to focus on art in general as a necessity when so many other issues come before beautification and people are more concerned about rescuing their community from dire issues like poverty, housing crises, and lack of healthcare. Art is a luxury few can afford and therefore the public interest in it wanes. How does it affect me? How does it directly benefit my life? Why should I care?
“Why wash the outside of a cup or dish while leaving the inside dirty?”
“On the surface, we’re doing everything right, but until we strike a deeper chord, it’s all kind of a waste of time.”
– Daniel Younger, Beyond Left and Right, Adbusters Media Foundation
Others, like several folks we interviewed, are happy to see more public art, like sculptures and murals, in Knoxville. They think that we should spend more on art in the future. They were pleased by the abstract qualities of the sculpture, which inspired thought and ponderings about the it, saying, “Isn’t that the purpose of art? To make you think?”
Locals of twenty plus years were reminded of the Sunsphere’s reception, which was also met with confusion due to its odd silhouette over the city.
One University of Tennessee student said that it was trying to be “The Bean” of Knoxville.
To me, it looks like a water park slide, and its aquatic qualities beg for some fun fountain elements. Something where children could play or dogs could cool off or the few brave adults could break from the norm and run through the spray. The kinetic energy would match the sweeping forms of the sculpture and harmonize with the piece.
A fountain could at least bring in a more interactive element than it currently has. (Maybe it was because I visited the sculpture on such a hot day, but now I am yearning for a fountain. I think I would love this artwork unequivocally if it had one and am begging…. do we have a few thousand more to add the finishing touch? Please?)
This pavilion is imagined by the arts council and the city to gather for events or enjoy a weekend of open air music within, but I can’t help imagine what it may look like in a few years without upkeep (looking at you Tennessee Amphitheater—you need a bath).
Another visitor also wondered about the sculpture’s longevity, saying, “It’s a matter of time before this gets some spray paint on it.” Another mentioned that the small holes leading to the center of the hollow structure was ‘begging for bees.’
Aside from the canopy-like sculpture itself, the large concrete chunk doesn’t exactly inspire thoughts of the wilderness, and instead emphasizes the worst parts of urbanity—parking garages.
Art as Civic Pride
The question is: How is the city spending our money and are they doing it in the best way possible to benefit the people who live here? This is a national question, not just one limited to Knoxville. Look to NE Minneapolis to see a good example of thoughtful arts investment, rooted in the community’s needs.
Art is such a subjective addition to a community and it all comes down to taste, so if people don’t like it for how it looks, or feel alienated by it, or unassisted in more day to day struggles, then it seems like a waste of money to them.
Not to mention, of course, that Fornes’s studio is based in Brooklyn. The choice to employ a successful New Yorker seems a bit trite, and definitely is not investing in local talent, which would uplift the ‘artsy’ city which Knoxville likes to lean into.
People need money to live and to grow and develop their practice. Many amazing artists are located here in Knoxville, but are unknown since they have to find jobs or markets that will support them elsewhere (online or traveling to work).
Of course, not all projects can or should be entirely locally based; that’s how communities become insular and stagnant. But the opinion still stands: Knoxvillians do not feel that their artists are represented or uplifted by their own town’s initiatives.
But maybe this is the kick in the pants Knoxville needs?
Innovative forms inspire our imagination, perhaps developing a more futuristic visual environment and that hopefully what follows it is a progressive attitude that will spur other developments like public transit, more community spaces, and affordable housing. New concepts must be embraced to break out of traditions that no longer benefit us—that takes creativity and enthusiastic willingness for change.
One observer found the sculpture to be similar to Asheville’s aesthetics, feeling that Knoxville is trying to redefine their art district by copying the West NC city’s vibe.
It's seemingly the mission of many Downtown art institutions to mimick others higher capita cities with the hopes of having the same success. But copy-pasting isn’t what makes a place special or have a unique identity.
However, this Knoxville resident didn’t think these developments were entirely negative, but hoped that it would prove to be a positive change for locals, rather than bulldoze over the existing culture, as the baseball stadium Covenant Health Park threatens to do.
Progress is a good thing, but requires thoughtful proceedings.
Dustin Durham, founder of Yes! Knoxville (a nonprofit promoting walkability, housing, and community spaces), sees the rejuvenation of this park as a boon for the city. He emphasized that the modernist aesthetic will highlight the park and bring new energy to the area, also making it more visible as a meeting place, which will connect Market Square to the 100 Block, as it encourages people to walk the short distance from one to the other. This is in line with the city’s vision of what this redevelopment might provide.
Public art, walkability, and meaningful community is something Hellmouth whole-heartedly supports, but it is so important to make sure that it is done in the right way.
The city has gone through waves of Urban Renewal, such as in the 50s when a major redesign to build the highway through the middle of town, resulted in the destruction of communities, like The Bottom. Did this improve certain things like the economy, tourism, and efficiency? Some note that this development damaged Knoxville’s ability to grow by segmenting the city and separating the downtown area from the river. Not even the TDOT people like it, one employee saying that they would have never put a interstate highway through the city, as it increases traffic rather than alleviates it.
Now, the milieu’s focus has shifted to more public art and walkable cities. In the enthusiasm of redesigning the city, it is important to ask who the project is meant to benefit and perhaps who these initiatives are pushing to the sidelines.
It leaves folks like Jaleria Rivera, local arts leader and organizer, asking, “Is this for us?”
Maybe in the future it will be. Visitors were hopeful for positive change, one thoughtful viewer pondered that “the sculpture could nicely represent the future of Knoxville” as long as people don’t mess with the checks and balances of power, and rather keep the cultural structure as is instead of erasing the past. He mentioned gentrification happening around town as a concern, such as Chilhowee Park, a beloved Knoxville fixture, which is recently under discussion in the city council to potentially cancel the Tennessee Valley Fair’s lease.
Mindful civic action is necessary by both those in leadership roles like boards or elected positions, as well as regular citizens, otherwise we will remain disconnected when now is the time for collective action.
Compelling art serves as an ambassador for innovation, creativity, and hope. Something safe and lovely-enough to look at does not necessarily spark wonder or questions or inspiration. Art must have meaning, even public art. It must carry a message to the people as an envoy reaching out from the banal doldrums of a city block, a park bench, or a crosswalk. It should disrupt the auto-pilot settings of our mind and incite an awakening consciousness.
Whether Pier 865 does this is up for discussion, which, I suppose is the point. Or, maybe it’s not.
But, it certainly has people talking.
What do you think?
*
What do you think? *
