LP Field is a football stadium in Nashville, Tennessee, United States, owned by the Metropolitan Government of Nashville and Davidson County. The stadium is used primarily for sporting events and music concerts and festivals. The stadium is the home field of the NFL's Tennessee Titans and the Tennessee State University Tigers. It is also the site of the Franklin American Mortgage Music City Bowl, a postseason college football game played each December, and is occasionally used as a venue for soccer matches. The stadium is also used for large concerts such as the CMA Music Festival nightly concerts which take place for four days every June. The stadium also has numerous public meeting facilities which are used for public events, meetings, parties and gatherings. LP Field is located on the east bank of the Cumberland River, directly across the river from downtown Nashville. Its seating capacity is 68,798.[1][2] Its first event was a preseason game between the Titans and the Atlanta Falcons on August 27, 1999. The playing surface of LP Field is Tifsport Bermuda Sod, a natural grass. However, the relatively warm climate of Nashville, combined with the wear and tear of hosting a game nearly every weekend, usually results in a resodding of the area "between the hashes" in late November. Despite the efforts to improve the field conditions, the poor quality of the grass has become a complaint of many NFL players, fans, and broadcasters. During the 1995 NFL Preseason, the Houston Oilers faced the Washington Redskins in an exhibition game at Neyland Stadium in Knoxville, Tennessee. At the game, Oilers owner Bud Adams met Nashville Mayor Phil Bredesen and began discussing the possibility of moving the team to Middle Tennessee,[citation needed] due to Adams' discontent with the teams' lease at the Astrodome and unwillingness of the City of Houston to build a new football-only stadium. Later that fall, Adams and Bredesen announced the team's intent to move to Nashville. The city and team decided to locate a stadium on the eastern bank of the Cumberland River in downtown Nashville, on the site of a blighted industrial development. In a special referendum on May 7, 1996, voters in Metropolitan Nashville/Davidson County voted to approve partial funding of the proposed stadium. The vote, which allocated US$144 million of public money to the project, passed with a 59% majority.[3] The pro-stadium organization, known as "NFL Yes!" outspent the anti-stadium group by a ratio of 16:1 during the campaign. The funds initially would be raised through an increase in the Metro water tax. The ongoing funding is through a 300% increase in Davidson County individual homeowner property taxes. Much of the remaining construction costs were funded through the sale of personal seat licenses. Some State of Tennessee money was allocated to the project, on the condition that the Tennessee State University football team move its home games there, and with the request that the team be named "Tennessee" (instead of "Nashville"), which the franchise was planning to do anyway, in an attempt to appeal to the broader region.[citation needed] The stadium's construction was delayed when the construction site was hit by a tornado that struck downtown Nashville on April 16, 1998 and destroyed several cranes, but the stadium opened in time for the first scheduled event. Naming rights During its construction, the stadium had no official name, though it was generally referred to as "The East Bank Stadium," a reference to the stadium's location on the eastern bank of the Cumberland River. Some in the local media jokingly called it "Bredesen-Adams Stadium". Upon its completion, it was given the name Adelphia Coliseum in a 15-year, $30 million naming rights arrangement with Adelphia Business Solutions, a subsidiary of the larger Adelphia telecommunications company. However, after Adelphia missed a required payment and subsequently filed for bankruptcy in 2002, this name was dropped and the stadium became known simply as The Coliseum for four years. (Adelphia itself was dissolved in 2006.) The current naming rights deal with Nashville-based Louisiana-Pacific was inked on June 6, 2006. Louisiana-Pacific, which markets itself as "LP Building Products", is paying $30 million over ten years for naming rights.[4] LP's influence inside the stadium led to the creation of the LP Building Zones in 2007, located beneath the giant scoreboards from Daktronics at the North and South ends of the stadium. The existing concession stands and restrooms in these two areas have been decorated to look like suburban homes using LP products. Tennessee Titans The Titans have posted an impressive record at LP Field since moving there in 1999, including winning their first 16 games before losing to the Baltimore Ravens on November 12, 2000. Overall, the Titans are 45–27 in the regular season and 2–2 in play

L. Gary Farrelly, TexBond (16 Dallas), 2010; mixed media on paper; 14 x 20 inches; courtesy the artist and CentralTrak, Dallas; photo by Carolyn Sortor R. (left) Gary Farrelly, TexBonds, 2010; mixed medium on paper; 14 x 20 inches each; (center) Thomas Riccio and Frank Dufour, The Invention of Memory, 2010; wood, cardboard, fabric, mirror, camera, microphone, software; 124 x 42 x 47 inches; (right) Works by give up, 2004–06; acrylic on newsprint; dimensions variable; courtesy the artists and CentralTrak, Dallas; photo by Carolyn Sortor a “one-night only diner [sic] with the artist: Richie Budd.” The misspelling of “dinner,” intended or not, adds intrigue and humor to the proposition. Is the holder to eat with the artist or share a Denny’s with him? Also offering a share of the personal within the gallery is Gary Farrelly’s Kunst Bureaucracy, which charts and quantifies the artist’s “operating performance” during his residency at CentralTrak. Brightly colored and didactic visuals signify bonds that Farrelly sold to celebrate (and financially augment) his stay in “the great metropolis of Dallas.” Regrettably, these hand-drawn charts and graphs are more visually interesting than their content can support. Though his diagrams endorse the idea of the artist as an active agent in the sale of his labor, Farrelly’s propositions, which quantify a handful of mundane daily activities, are too much of a one-liner to provoke more thought on the value of his gestures. Quite the opposite is Marjorie Schwarz’ Untitled (Pearl String by Marjorie) located in the gallery’s two restrooms. Schwarz’ installations present wallpaper printed with a repeated photographic image of a pair of hands stringing pearls, along with rolls of toilet paper printed with various phrases. This unobtrusive yet distinctive intervention in an intensely private site is memorable for effectively inserting the artist and her musings into the flow of daily life. Ludwig Schwarz’ Discount BBQ Duck Restaurant is in keeping with the artist’s interest in capitalist production, yet his photographic and digital images of a crispy duck carcass atop a plastic chair seem gimmicky. Still, the cheaply printed and folded menu for the eponymous pseudo- restaurant suggests that triteness could be the point. Overall, the principal lesson of this exhibition is that an artist’s personal investment in a work offers an alternative to the status quo of art object as commodity, in which value is determined by the whims of collectors, dealers and auction houses. This “non-profit margin” supports the notion that the artist is not merely a cog in the mechanics of the art market but is a valuable worker in society, making a convincing case for the notion that the personal is indeed political. Erin Starr White is Assistant Curator of Education, Student and Educator Programs at the Modern Art Museum of Fort Worth.