The County of Volusia Art in Public Places program will be the topic of my discussion at the New Smyrna Beach Public Library in January. Subjects will include defining art in public places, locations to find county owned art, how the program operates, and more. You can find incredible artwork throughout our county.
Learn more about this county initiative by using THIS LINK. From courthouses, to libraries, to the Ocean Center, to the Daytona Beach International Airport, art is a critical component of publicly owned and accessible buildings. While often times these pieces go unnoticed, art is crucial to setting the tone for buildings and their intended use.
We will also briefly discuss other Art in Public Places locations and programs in Volusia County. From sculpture walks to sharks, Volusia County cities and museums offer a wide array of art for the public to enjoy, free for the viewing.
Art in Public Places programs are available throughout the county. Often times, they are right before us and we don’t even realize it. You can find an example of public art in Thomson, Georgia. Their public art exhibit titled 12 String Strut, honors local blues legend Blind Willie McTell.
This event is free to the public and will take place on Thursday, January 25, 2024, at 10a.m. If you are in town for the IMAGES: A Festival of the Artsshow, we invite you to attend. You will learn a bit more about the art that you will find throughout Volusia County.
Sometimes it takes a while before an individual finds their true calling in life. For George Nock he grew up with art before taking a slight detour toward the world of college and professional football, before returning to his real love and talent, art. George Nock was a college star, NFL player, and later a professional artist.
Born March 4, 1946, in Baltimore, and raised in Philadelphia, Nock came from a big city background and lived a big city life.
George Nock courtesy Morgan State Athletics. Nock stared in college football, played in the NFL, and returned to his true love, becoming a professional artist.
Nock excelled at both art and athletics during his early years. Even in his earliest years he was drawing and during junior high he crossed paths with two mentors who had a distinct influence on his life path. African American artists and educators William Tasker and John Battle III allowed George to excel in his coursework and even provided weekend lessons at the Fleischer Art Memorial. While still interested in art, Nock began to focus energies on sports during high school.
Nock attended Morgan State College (now University after 1975), where he and the Bears had several memorable moments during his career there. During the 1965 Orange Blossom Classic, facing Florida A&M, Nock returned a punt for a touchdown and the Bears defeated the Wildcats 36-7.
George Nock, Morgan State running back. Image courtesy Morgan State Athletics
The following year, Nock and the Bears played in the first bowl game where a Historically Black College and University (HBCU) won an integrated game. Morgan State College defeated the West Chester Golden Rams by a final score of 14-6, in the Tangerine Bowl (now called the Citrus Bowl) in Orlando, FL, capping off an undefeated season at 8-0.
Several Morgan State players from the 1966 team went on to NFL careers including Tangerine Bowl MVP, Willie Lanier, Bob Wade, Baryl Johnson, Alvin Mitchell, Jeff Queen, and Nock. Lanier went on to be a star in the league, playing in 149 games, intercepting twenty-seven passes, and recovering eighteen fumbles in an eleven-year career. He was an eight-time all-pro, went to the Pro Bowl six times, was selected to both the 75th and 100th Anniversary All-Time teams, and had his number retired by the Kansas City Chiefs. He was elected to the Pro Football Hall of Fame in 1986.
George Nock in action for the New York Jets. Image courtesy New York Jets.
Nock’s college career was strong enough to invite interest from the NFL, and in the 1969 draft he was taken by the New York Jets in the 16th round, the 416th player taken overall. Being drafted that low, it was a struggle to make the team, but he did, playing alongside quarterback Joe Namath. He only played in two games that season and totaled negative five rushing yards.
While Nock’s numbers were not strong, the team ended the regular season with a 10-4 record, good enough to make it to the playoffs where they would lose to the Kansas City Chiefs.
The young Nock came back strong in the 1970 season, not just earning a roster spot but playing in all fourteen games, starting in nine. He finished second on the team in rushing yards with 402 and also caught eighteen passes for an additional 146 yards. Combined he scored six touchdowns. This was certainly a solid year, but the team was poor. Namath broke his wrist in the fifth game of the season and the team finished a dreadful 4-10.
Nock was to play one more season with the Jets. In 1971 he played in all fourteen games and totaled 137 rushing yards, 44 pass reception yards, and scored five touchdowns.
In 1972 he moved on to the Washington Redskins where in his final year in the league, he played in only seven games, cut down due to injury. He ran for twenty-two yards and caught no passes. The Redskins went to Super Bowl VII but were defeated by the undefeated Miami Dolphins.
Nock did not play in the 1973 season due to injury and was later traded to the Baltimore Colts. He was to later file suit against the Redskins for negligent treatment by team physician Dr. P.M. Palumbo, Jr.
In a post-career interview posted on the Washington Commanders website, in discussing how he transitioned from football to art, Nock stated, “I was always drawing and doing something related to the arts. I pursued it in a way that could be considered a career at the time, [but] I pursued it as a hobby just because I loved to do it. Doing it on my own, I developed my skill.” In discussing his passion for art, he went on, “I just decided to pursue the artwork, and see what happens. There’s a thing that eats away at you and there’s where your passion lies, so follow it. That’s what I did.”
The interview continues, delving into how Nock got into bronze sculpture,
Well, it took a while to do the bronze. I could always sculpt, but I never took a class. I’m self-taught. But then in ’89, I decided to really take a look at it and I was at a football convention in L.A. and when I came back I just made up my mind to do bronzes. I just made up my mind. I went directly to a foundry out in Northern Virginia. They took me in and I asked if they could show me how to do this. [But] they said, “We don’t let people [bronze] off the street.” So, I went and got this sculpture of a football player that I had done and brought it back to them. I said, “I’m going to be doing this for the rest of my life.” They said, “come on in, man.” That’s how that happened.
Breaking Barriers, created by George Nock, former NFL player turned professional artist. The sculpture is installed at Lorna Doone Park in Orlando, FL. Image courtesy Ted Haddock
George Nock, the artist, has firm ties to the Orlando area. Visitors to Lake Lorna Doone Park can visit the “Breaking Barriers” monument. This incredibly important work, highlights two Little League baseball players, one African American, the other White. The monument is in commemoration of the first integrated Little League game played in the South. This game was played here in 1955 at what was then called Optimist Park.
Rather than attempt to retell the story of how the Pensacola Jaycees Little League team came to Orlando to participate in the district tournament, I refer readers to this excellent Major League Baseball article.
The world lost George Nock in 2020 at age 74 to COVID-19. An online memorial for him may be found using THIS LINK.
1955 Pensacola Jaycees Little League team. Image courtesy Major League Baseball.1955 Orlando Kiwanis Little League team. Image courtesy Major League Baseball.
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Born on June 10, 1923 in Millett, Texas, to parents Felix and Guadalupe Botello, Adelfa Botello Callejo was the oldest of five children (her siblings in age descending order being, Felix, Consuelo, Lillee, and Gilberto) in the home; a home that while maybe not rich in money, valued education and the opportunities it could bring.
Adelfa’s mother, Guadalupe, was born on August 13, 1904 and passed away on February 4, 1983 at age 78. Guadalupe was fifteen years the junior to her husband, and often worked outside the home to help make ends meet. In 1940, Guadalupe worked as a sack sorter for a burlap bag company. In 1950 Guadalupe worked the quite respectable job as a “floor lady” at a department store according to the United States Census.
Felix was born in Mexico, on November 27, 1889 and died May 15, 1970 in Dallas, Texas. Felix, with only a fourth-grade education and not speaking English, was often working in manual, backbreaking jobs. such as in 1930, he worked as a laborer in Sulphur vats, to support his family. In 1940, Felix was working as a farm laborer. By 1950, he had moved on to working for a landscaping company, which at the age of sixty still must have been difficult for him.
Millett, La Salle County, Texas, where Adela was born was a small community at the time. In 1930, barely 8,000 people called La Salle home. Today, the county is even smaller, registering just over 6,500 residents, who are mostly of Hispanic heritage. As for Millett itself, it is unincorporated; fire and drought having ravaged an already small population.
Adelfa graduated high school in 1939 and soon after moved to California. It was in California where she met William Fernando Callejo, the man she was to wed in 1946.
The couple moved often, residing in Mexico City and later New York City, before moving to Dallas in 1951 where Adelfa would be close to family.
By 1961, Adelfa had earned her bachelor’s degree and later her law degree. She was the first female Mexican American graduate of the SMU Dedman School of Law.
Adelfa Botello Callejo
Despite her academic achievements, employment proved elusive at any of the established law firms and Adelfa began her own practice. Her husband would join the firm after earning his J.D. in 1966. The Callejo and Callejo law firm was born with specialties in immigration, family, and personal injury cases.
The firm was successful and Adelfa herself was becoming influential in the Dallas area. The firm often took on cases involving the rights Mexican immigrants. She was a cofounder of the Mexican American Bar Association of Texas, renamed the Dallas Hispanic Bar Association. She served a term as regional president of the Hispanic National Bar Association. In 1966, the United States Supreme Court admitted her to practice law before them.
Throughout her life Callejo put forth the value of education. She understood that it was education which allowed her to live the life she had. She wanted that for all and was a tireless crusader towards this goal, particularly for Hispanic children.
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In 2004, Adelfa and her husband donated one million dollars to endow the Adelfa Botello Callejo Leadership and Latino Studies Institute at the SMU Dedman School of Law.
In addition to this endowment, the Callejo’s put their money to use, significantly toward education. Hispanic youth wanting to further their education specifically received their attention. They provided scholarship money allocated through the Greater Dallas Hispanic Chamber of Commerce, the Hispanic Bar Association, and numerous other organizations.
While fighting brain cancer, Adelfa gave what was to be her last speech on April 12, 2013, at an elementary school named in her honor, the Adelfa Botello Callejo Elementary School, in Dallas. It was during this speech that she stated,
It is through education that we are truly set free, and it is only through education that we shall make this world a better place than we found it for education is the Great Equalizer. I have spent my entire life on this earth promoting the inherent value of knowledge, the unobstructed use of our imaginations and the development of proficient leadership as we run the course of the 21st century. And, I want you to know that I shall never rest nor waver from that commitment.
Cancer claimed the life of Adelfa Botello Callejo on January 25, 2014. Her impact continues to be felt to this day.
Restland Memorial Park, in Dallas is where Callejo’s remains were laid to rest. You may visit an online memorial for Callejo HERE.
Before Adelfa’s passing, the Callejo Foundation was planning for a larger-than-life sculpture to be created in her memory. Callejo, however, expressed her traditional modesty, and was not interested in such.
The Foundation persisted and commissioned Mexican sculptor German Michel to create a lasting memorial. Michel created the impressive 10 foot tall, 1,500-pound bronze statue. This statue can now seen on Main Street in Dallas, near the UNT-Dallas law school.
After many years of indecision, the city of Dallas accepted the art donation. A public dedication ceremony held in her honor on September 29, 2022, cemented that her “memory lives on forever as “La Madrina” or “godmother” of Dallas.
The Adelfa Botello Callejo statue located in Dallas, Texas.Close up of the Callejo statue.
If you are visiting Dallas, I recommend a visit to the Oswald Rooming House Museum. Read my post on this small but interesting museum HERE.
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Blind Willie McTell of Thomson, Georgia Image courtesy Library of Congress
William Samuel McTier (McTear) was born in Thomson, Georgia on May 5, 1898, though some researchers contend that he was born in 1903, and his headstone gives the year of 1901. I have yet to find a source on how he became known as McTell.It is also unclear if young Willie was born blind or lost his sight during childhood. The New Georgia Encyclopedia indicates McTell attended schools for the blind in Georgia, New York, and Michigan. Whatever the origins of his name, Blind Willie McTell of Thomson, Georgia is a legendary blues guitarist with a deep influence in the genre.
While in his teens, McTell and his mother moved to Statesboro, GA, and it was here where Willie learned to play the six-string guitar.
By the 1920s, McTell had left the family home, taking to the road as a traveling musician, playing carnivals, bars, parties, churches, and street corners to earn a living.
Young and talented, McTell became popular in Atlanta, regularly playing at house parties and similar events. By this time, he had upped his game to the twelve-string guitar, an instrument that helped him project his music better in the crowded areas he often played.
By 1927, recording companies had noticed McTell and other blues musicians and he cut his first tracks for Victor Records, following that with a 1928 session for Columbia. The New Georgia Encyclopedia lists multiple studios that McTell recorded for, often under different names. Musicians of the era would often record under similar, but different, names in order to avoid contract conflicts.
McTell was wed to Ruth Kate Williams in 1934. They were to later record several tracks together.
John A. Lomax recorded McTell as a part of the Archive of American Folk Song in 1940. These recordings, held by the Library of Congress, have been released under the title The Complete Library of Congress Recordings.
Commercially, McTell’s sales were declining during the 40s, and he found himself playing more on the streets. He did record for Atlantic Records in 1949 and Regal Records the same year. Atlanta record store owner Edward Rhodes made McTell’s final known recordings in 1956.
Starting in 1957, McTell served as the preacher at Mount Zion Baptist Church in Atlanta and devoted himself to religious music. Blind Willie was to only live a short time longer and passed away on August 19, 1959, due to a cerebral hemorrhage. McTell is buried in Jones Grove Baptist Church Cemetery in Thomson, Georgia.
McTell’s 12-String Strut
Located in the downtown Thomson, GA area is a public art exhibit titled McTell’s 12-String Strut, honoring the locally born Blind Willie McTell. There are twelve, seven-foot-tall Stella guitars in the installation, each painted by a different artist. The guitar models were created by Icon Poly Studio and are made of polyurethane.
The installation was presented to the public in 2016 after a Georgia Department of Economic Development report suggested a public art component and providing additional exposure for one of McDuffie Counties most recognized citizens as part of the county’s tourism marketing efforts.
Below, find images of 6 of the 12 guitars that are located throughout Thomson. 11 of these are very easy to find. The 12th however took a bit more digging. It is located outside the McDuffie County Government complex.
Georgia Historic Marker in honor of Blind Willie McTell, located in Thomson, GA
A Georgia Historic Marker was unveiled in Thomson, GA, in 1993, near the old railroad station. The marker honors McTell and his legacy. The text (including a few small grammatical errors) reads as follows
Willie Samuel McTear (1901-1959) was born between Big and Little Briar Creeks in the Happy Valley Community. In 1911, he and his mother moved to Statesboro, where he began his life of traveling and performing. Although blind from infancy, Willie developed a lifelong independence based on his acute sense of hearing., remarkable memory and versatile musical genius.
Willie performed and recorded under many names but favored “Blind Willie” McTell. Best remembered for his blues, McTell, had a remarkable repertoire of blues, spirituals, gospels, rags, fold ballads and popular music. McTell played from “Maine to Mobile Bay”, and at theaters, taverns, road houses, churches, medicine shows, train stations, barbecue joints, house parties, and on the streets.
His blues feature his trademark twelve-string guitar played in rapid and intricate patterns of jagged, shifting rhythms accompanying his clear tenor voice. He started recording in 1927 for RCA Victor Atlantic and the Library of Congress. He last recorded in 1956 and returned to McDuffie County shortly before his death. Blind Willie McTell is buried in Jones Grove Cemetery. The Georgia Music Hall of Fame inducted Blind Willie in 1990.
McTell has also played a considerable influence on musicians after him. Performers as diverse as Taj Mahal, the Allman Brothers Band, Ry Cooder, Jack White, and Bob Dylan have covered his songs or singled out the blind guitar player for his influence on their careers.
Blind Willie McTell Music Festival
Blind Willie McTell mural located in downtown Thomson, GA
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The Rough Guide to Blind Willie McTell is an excellent introduction to the genius that poured from his fingers. It contains 25 key tracks including some of his best known such as Statesboro Blues. There is no full length biography on the life of Blind Willie McTell.
Located outside the incredible British Library in London is the impressive sculpture titled ‘Newton’ After William Blake, crafted by Eduardo Paolozzi.
Eduardo Paolozzi Courtesy BBC Radio
Paolozzi was born in Edinburgh, Scotland, United Kingdom, to Italian immigrants on March 7, 1924. Growing up, Paolozzi’s father was an admirer of Benito Mussolini and sent his son to youth camps in Italy for several years.
When Italy declared war on the United Kingdom in June 1940, young Eduardo, his father, and grandfather were all imprisoned under the Emergency Powers Act. Eduardo spent three months in Saughton Prison. His father and grandfather were put aboard the Arandora Star and were to be transported to Canada for detention.
The Arandora Starwas constructed in 1925 and had served as a cruise ship based out of Southampton before being pressed into military duty. In June 1940, she left Liverpool with a passenger list including 174 officers and men, 200 military guards, 734 interned Italian men, 479 interned German men, and 86 German prisoners of war, destined for Newfoundland.
Early on the morning of July 2, she was struck by a torpedo launched by a German submarine, U-47. Eight hundred and five passengers lost their lives in the attack, the majority drowning. Among the dead were young Eduardo’s father and grandfather.
Upon his release, Eduardo attended classes at Edinburgh College of Art before being drafted in 1943. He spent more than a year in the Pioneer Corps before being released from service.He then began attending the Slade School.
Here the young artist was developing his talents and style. In 1947 he was given his first solo exhibition at the Mayor Gallery, where all his work sold. He was to then spend time in Parisbefore returning to London. In Paris he had come to learn of Dada and Surrealism and began to experiment with collage.
During the 1950s, Paolozzi began to produce architecturally based works. He also began to experiment with printmaking. His interest in collage continued however and as Frank Whitford wrote for the Guardian, “Everything he created began as an accumulation of unrelated images culled from a wide variety of sources which, when rearranged, achieved a new and surprising unity.”
In the 1960s his sculpture began to further incorporate his interest in collage. As Whitford writes of Paolozzi, “…regularly visited the dry docks, collecting discarded components from the wrecking yards. He used these, together with standard engineering parts ordered from catalogues, to create sculptures which simultaneously suggested curios machines and totems from some lost but technologically advanced culture.”
After a period of creative doldrums, Paolozzi moved to West Berlin in 1974. In Berlin he regained his creative energies producing abstract prints. He would later serve as a professor at the ColgoneFachhochschule and later served at the Munich Academy.
With his creativity at a high level. Paolozzi was awarded multiple public commissions in both Germany and Britain. During the long construction of the British Library, architect Sir Colin St. John Wilson commissioned Paolozzi to produce a sculpture to grace the piazza outside the library. The result: ‘Newton’ After William Blake.
William Blake’s painting of Newton, an inspiration for Paolozzi’s sculpture. Courtesy Tate Britain
The British Library describes Blake’s painting, “Blake’s original watercolor shows Newton surrounded by the glories of nature but oblivious to it all. Instead, he is focused on reducing the complexity of the universe to mathematical dimensions, bending forward with his compass.”
Installed in 1995, the sculpture is a bronze measuring twelve feet tall. Casting of this work was done by the Morris Singer Foundry. Singer was established in 1848 and has cast many well-known sculptures, including the Trafalgar Square Lions.
Newton After Blake located outside the British LibraryNewton After Blake from the sideSir Colin St. John Wilson Courtesy Royal Academy of Arts
In discussing his work, Paolozzi said, “While Blake may have been satirizing Newton, I see this work as an exciting union of two British geniuses. Together, they present to us nature and science, poetry, art, architecture-all welded, interconnected, interdependent.”
This interconnection between is shown in the physical sculpture itself. The body of Newton is shown in a seemingly mechanical way. Newton is held together with bolts in the major joints.
To hear more about this sculpture from the architect Sir Colin St. John Wilson click here. This interview excerpt is about two minutes long.
A model of the sculpture was given to the Isaac Newton Institute for Mathematical Sciences. A bronze cast of Newton is in the collection of the Tate Gallery. A similar sculpture is held at the Scottish National Gallery of Modern Art in Edinburgh.
As he grew older, Paolozzi began to consider his legacy. He undertook a philanthropic role, donating prints to museums in Britain and other countries. His largest donation was to the National Galleries of Scotland which houses a studio with his name.
Paolozzi suffered a stroke in 2001 and passed away in April 2005.
You may examine the life of artist Eduardo Paolozzi in more detail in this work by art historian Judith Collins. Eduardo Paolozzi chronicles the development of European art from the 1950s through the late 1990s. At over 300 pages and heavily illustrated this is a must for anyone interested in learning about this amazing artist.
To learn more about the architect of the British Library, Sir Colin St. John Wilson, I recommend the book Buildings & Projects, written by Roger Stonehouse. Wilson himself penned several titles which can be seen here.
This post may contain affiliate links. If you click these links and make a purchase, I may receive a small commission. This commission does not affect any price that you pay. All views and opinions provided are my own and are never influenced by affiliate programs or sponsors providing products.
Sources
British Library. Isaac Newton Sculpture by Eduardo Paolozzi. https://www.bl.uk/about-us/our-story/explore-the-building/isaac-newton-sculpture
Many years ago, New Smyrna Beach was known by the moniker WSBB, or
World’s Safest Bathing Beach. Even today, there is an AM radio station using
these call letters. Now visitors and residents of New Smyrna Beach can find painted shark sculptures throughout town.
Over time, the marketing slogan has gone by the wayside, replaced by something a
bit more ominous sounding, the Shark Bite Capital of the World. It is ominous
sounding but the odds of receiving a shark bite are miniscule at best. As WESH
reported, in 2021 there were sixteen shark bitesin waters at Volusia County. These
tie for the second highest number of bites in the last twenty years. In fact, the International Shark Attack File reports only 137 bites throughout the world in
2021. Despite being the intruder, you are safe in the ocean.
An example of the Atlantic Blacktip Shark
Experts reply that this locally high number is not due to an increase in shark population but rather an increase in the number of humans visiting beaches. Typically, these bites are from blacktip sharks, a species known to frequent the shallow waters where they may be feeding on baitfish or perhaps giving birth. The majority of bites occur near Ponce Inlet, an area known to have a large quantity of baitfish. This area is also popular with surfers so man/nature interaction is to be expected.
Despite some locals not wanting to continue the seemingly negative image, a group of high school students, along with City of New Smyrna Beach elected officials have created a new public art initiative featuring whimsical version of these often feared predators.
In May 2019, the Youth Council Task Force presented the idea to the city
commission of painted sharks, along the lines of what other communities have
done. Logistical issues, including design and cost of the sharks, where they would
be placed—public lands or at private businesses, and later COVID-19 delayed, but
could not stop, this initiative.
With the assistance of Rick Hardy, a taxidermist at Unique Species, Inc., the
project moved forward. Hardy crafted five shark sculptures, each seven feet long,
two feet tall, and one foot wide. The Youth Council selected local artists to give
these sculptures their own painted interpretation. These individual works of art
were then installed at city owned facilities throughout town.
Cathy Berse is well known in local art circles, having lived in the area for more
than thirty years. Her goal is to show that New Smyrna Beach is about more than
being the shark bite capital of the world. Her work is an attempt to bridge the
mainland and beachside, with one side of her shark representing each.
Cathy Berse’s shark at City MarinaCathy Berse painted shark at City Marina
Ms. Midgett states that color is a part of who she is. Her shark inspiration came
from growing up at the beach. A News-Journal article quoted her, “Images of sand
dunes and the paths through them etched indelibly into my memory.” Her
contribution “Sam the Shark,” features bright colors and nods to New Smyrna
Beach such as a crab, the Ponce Inlet Lighthouse, and condominiums.
Eliza Midgett painted shark at the Brannon Center.Eliza Midgett painted shark at the Brannon Center.
Shy, as she is often called, is a fourth generation New Smyrna Beach resident. She
and her daughter worked on the design together. “We decided to paint happy kids
enjoying time at New Smyrna Beach swimming on their floats in the ocean. We
also included a landscape so viewers would know it’s the beach and not a pool.”
Morris is glad to see public art projects like this and hopes the city continues
offering artists these type opportunities.
Shy Morris painted shark at the Live Oak Cultural Center.Shy Morris painted shark at the Live Oak Cultural Center.
Ms. Preston, who is a teacher at Indian River Elementary School, named her shark
“Ponce.” The inspiration for her shark came from “all aspects of my life,”
including her family and teaching experiences. According to Ms. Preston, art “can
influence, entertain, and educate your audience, and most of the time without even
using any words.”
Randal Preston painted shark at the Alonzo “Babe” James Community Center.Randal Preston painted shark at the Alonzo “Babe” James Community Center
Margo Wenzel
Development Services Building 214 Sams Avenue
While many consider the food scene in New Smyrna Beach to be a highlight, Ms.
Wenzel uses music as her theme. “I was inspired by NSB’s offerings of music for
my shark theme. There is live music in town at the farmer’s market, Old Fort Park,
Riverside Park, the various street fair events, countless bars and restaurants, and
The HUB on Canal.”
Margo Wenzel painted shark at the Development Services Building.Margo Wenzel painted shark at the Development Services Building.
You may take a tour of these amazing pieces of art with my YouTube video. Please consider subscribing to my channel to enjoy more of the interesting places I visit. I hope to be posting to YouTube more frequently.
Sources:
Daytona Beach News Journal. January 19, 2022.
Hometown News. January 14, 2022.
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The City of New Smyrna Beach, a self proclaimed art town, is currently reviewing an ordinance that would provide regulation on current and future murals.
The proposed ordinance (ordinance no. 13-22, first reading on April 26, 2022) creates a definition for murals, non-residential primary structures, and residential primary structures. The intent of the ordinance is that art or graphics “be permitted within certain non-residential zoning districts of the City to aesthetically enhance otherwise blank walls and building side and rear wall.”
A mural off Canal Street in New Smyrna Beach by artist Beth O’Connor that could be impacted by a proposed new ordinance.
Those seeking to have a mural placed on their building will now file for a permit, with the appropriate $50 application fee of course, with the city Department of Development Services. The city has created a listing of requirements, including size limits for art based upon wall size. Advertising and written messages are not permitted. Current murals will be granted a five year window to be in compliance with new guidelines (if passed).
While I agree that there does need to be a set of approved guidelines for murals and public art, it appears that city staff did not include the art or business community when drawing up the proposed ordinance. From my research it appears they have only reviewed guidelines from other local governments. Who those local governments are is not stated in agenda packet.
If staff and the city Planning and Zoning Board had worked with interested local parties they would have found out that many of the murals currently in place, and enjoyed by thousands of visitors and residents, do not meet the proposed guidelines. As Jane’s Art Center has posted on Facebook , this ordinance may impact current art. It appears no exceptions have been made for artist signatures. Is that considered a written message and thus not allowed? The beloved shark mural on the side of the HUB on Canal will need to undergo extensive work to be in compliance if the proposed ordinance passes.
Ordinance 13-22 had been on the agenda for the May 10, 2022 city commission meeting but was pulled. Public comments appear to have been allowed however.
For art in public places enthusiasts this is an issue that we need to keep our eyes on. Not living in New Smyrna Beach I don’t have a feel for what individual commissioners may be thinking on this. Common sense regulation will help keep murals that are negative or detrimental to the city image from being created. Regulation will also mandate that murals be maintained and allow for code violations should they fall into disrepair. It does however become a fine line between property rights, free speech, and what may be best for the larger community. Bringing stakeholders to the table will help create the best ordinance possible and will provide for reasonable grandfathering in of existing murals.
Please click the link below to read the current ordinance as posted on the April 26, 2022 City of New Smyrna Beach city commission meeting agenda.
One of the joys of London is just walking around with open eyes. There is so much to see. It may be the Blue Plaques on buildings, it may be a small marker on a structure, or maybe you will find a war memorial that most just walk by. Or perhaps like we recently did, you will come across a unique piece of art. Young Dancer created by sculptor Enzo Plazzotta is well worth searching out if you are in the Covent Garden area.
Enzo Plazzotta Image courtesy Chris Beetles Gallery
We had visited London several years ago and stumbled by Bow Wow London, a unique pet store that allowed us the chance to shop for our dogs. The owners were so nice to us we knew we had to make a return visit on our next trip to the city. After stopping in and purchasing a truly unique collar for our dog, we were walking around in Covent Garden when we crossed paths with an incredible sculpture; Young Dancer, created by the Italian artist Enzo Plazzotta.
Unfortunately, World War II interrupted Plazzotta’s studies. During the war, he became a Partisan leader near Lago Maggiore. Once hostilities ended, Enzo returned to school where he was to receive a commission from the Italian Committee of Liberation. After he presented his work to the recipient in London, he took up residence in the city.
While portrait sculpture paid the bills, Plazzotta was more interested in movement; a theme he was able to highlight in subjects such as horses and dancers. The Chris Beetles Gallery describes Plazzotta’s work, “Through his studies and adaptations of mythology and classical Christian themes he was able to convey great power and emotion encompassing the frequent vain striving of mankind.”
Plazzotta was to live only sixty years, passing away on October 12, 1981. Six and a half years after his death, the Westminster City Council and the Plazzotta estate unveiled Young Dancer on May 16, 1988. The beautiful bronze sculpture shows a young, female dancer, seated on a stool. Her right leg bent slightly at the knee, points to the ground with her toe just touching. Her left leg is across the right with her hands resting on it. The dancer has a calm look and appears to be resting. If you, or a member of your family study ballet or other forms of dance, this sculpture will make you smile.
Young Dancer, a bronze sculpture in Westminster London
Behind the Young Dancer is a row of iconic red telephone booths bringing you back to the reality that you are in a large city.
Young Dancer is located on Broad Street just off of Bow Street, opposite the Royal Opera House in the Covent Garden district.
Young Dancer by Enzo Plazzotta, with Iconic Phone Booths in Background
The Estate and Copyright of Enzo Plazzotta is exclusively owned by the Chris Beetles Gallery.
For sales and enquires please contact the Gallery.
If you are in London be sure to keep your eyes open for the many blue plaques that adorn buildings denoting a famous person had something to do with the building. Take a look at my blog postthat reviews a book highlighting more than 400 blue plaques.
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Identifying plaque for Young Dancer by sculptor Enzo Plazzotta
Are you visiting London soon? If so, consider a personalized 4-hour walking tour from Westminster to Covent Garden. Work with your guide to see what YOU want to see. Click the photo or the link below to learn more and book your amazing tour.
Take a Personalized London Tour from Westminster to Covent Garden. 4 hours with guide. Because this tour can be personalized to your tastes, there is no set itinerary. CLICK THE IMAGE OR HERE for more information and to book your tour.
Francis “Mac” McBride mural located on Rich Avenue near Woodland Boulevard
If you are standing at the corner of Woodland Boulevard and Rich Avenue next to the former Dick & Janes CoffeeShop be sure to take a look on the side of the building. Here, near the creepy looking stairs leading down to an empty basement storefront, you will see a mural in honor of Commander Francis “Mac” McBride.
Born in Rockledge, Florida, the McBride family had a legacy of police work. McBride’s father and brother were also in law enforcement. His uncle served in the United States Air Force as a military police officer.
The young McBride moved to Volusia County, living in Daytona Beach and Barberville, before moving to DeLand. In DeLand, he began work at Sherwood Medical Industries, before being hired as a rookie officer by the DeLand Police Department in 1975.
The then 77-year-old McBride retired in 2020 after 45 years on the police force. During this time he made many friends and won the respect and admiration of downtown business owners for his community policing style. He is often remembered for his “Night Eyes” program. As a part of this program he would leave notes for business owners assuring them he had checked on their business during his shift.
Former DeLand Police Chief, Bill Ridgway said of McBride, “I got to see how he built relationships and those connections with the community, he was ahead of the curve.”
In seeing his mural Officer McBride stated, “I hope I did the right thing. Everything that I’ve done now goes back to that mural. It’s an honor to know that my legacy is that I cared about the people and people cared about me.”
McBride was honored during his last shift with a retirement party held at the Sanborn Activity Center. After his retirement the beloved officer moved to Alabama to be closer to family.
Detail of Mac McBride muralOath of Honor as seen in the Francis “Mac” McBride mural.
This post may contain affiliate links. If you click these links and make a purchase, I may receive a small commission. This commission does not affect any price that you pay. All views and opinions provided are my own and are never influenced by affiliate programs or sponsors providing products.
If you are interested in memorials to law enforcement officers, please take a look at my post about the memorial to officer Elmer Michaelof the DeLand police force. This monument is located just a short distance from this mural.
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You may examine the life of artist Eduardo Paolozzi in more detail in this work by art historian Judith Collins. 
