A resurgence in the Everett Station Lofts
With so many artists and a lot of new spaces popping up in unexpected locales
there is a wild-westness and an equally pervasive camaraderie to the Portland
art scene. Over the years the Everett Station Lofts
have been the most important breeding ground and networking
zone in the scene. Current "names artists" like Brendan Clenaghen,
Joe Macca, Jacqueline Ehlis, James Boulton, Brad Adkins, Laura Fritz, TJ Norris
and Red 76 all have a history with the Lofts. Even newer to the spotlight names
like Paul Fujita and Scott Wayne Indiana were recently ensconced there.
work by Mike Mcgovern at Zeitgeist Gallery this past summer
Physically, the lofts are a collection of 15 artist run galleries and two larger spaces on the block bordered by NW Broadway, Everett, Flanders and 6th street. After 3 years in the doldrums as the scene expanded outward from the downtown they are surging once again.
Sure, lots of places are competing for bragging rights as the epicenter of the scene these days but to these eyes no space in the city is as diverse, weird, and crackling with energy as the Everett Station Lofts. A few of them are regularly producing the
best shows in the city. Yes, many are novelty acts that are more social or attitude driven than serious but there is a place for such diversions, especially when some artists develop more serious programs like they are now.
One space I always try to hit is a Ogle (310 NW
Broadway). It isn't an artist run loft; instead it's a largish hybrid eyewear/optometrist/gallery
space that occasionally has very interesting shows. This month the work of Philip Iosca (below) from the latest Portland Modern publication fits that bill.
This month Zeitgeist
Gallery (the longest running of the ESL spaces) features Philadelphia based
and former Zeitgeist proprietor Tyler Kline. Since moving to Philly in 2003 Kline's work has grown, becoming more haunted while stripping out unnecessary imagery (see below).
(detail of Kline's Zeitgeist installation)
Gallery focuses on comic book artists, these works are from Ryan Alexander's
show "The Prisoner" last June. No doubt Manson thinks the hamburglar is his cell mate, rubble rubble...
Tilt Gallery co-founded
by PORT staffer Jenene Nagy and Josh Smith has become the most consistently
well programmed non-profit contemporary space for up-and-coming artists in the city. This month features the LA based (and
former Portlander) Aili Schmeltz. I liked her earlier ergonomic installations a bit
more than this body of work, but for once her paintings are overshadowing her
Another notable gallery is Genuine
Imitation. This month's show features Nike designer Michael Hernandez's
Rise & Fall, a show which addresses one of Portland's pet subjects, real-estate
Sugar Gallery's Roxanne
Jackson exhibition was one of the best shows in Portland this month. Her
ceramics are strange, disgusting and walk the line between uneasy subject matter
and exquisite skill.
Detail of Roxanne Jackson's "Muscle Memory"
I haven't been able to wrap my head around Hovercraft's programming (#114 right
next to Sequential) but I enjoyed this show last June featuring Justin Oswald's Roller
derby team "Guns N' Rollers."
Vorpal Space often focuses on the kinky and last June featured
a show of Suicide Girls photography.
Face" by London Lunoux at Vorpal Space June 2006
Another newish and large addition to the block is the Rake
Gallery. From butoh performances like last 1st Thursday to fashion shows
and art exhibitions the space is a bit unpredictable expereince-wise but worth
a look. Like Ogle, Tilt and Sugar they have regular gallery hours too and art
viewing will be better than on 1st Thursday.
Joshua Kim's "Delta Dart II" at Rake Gallery last June
If more spaces decide to develop a serious curatiorial program like Tilt has I think the lofts might just birth a whole new batch of "name" artists.
Posted by Jeff Jahn
on September 20, 2006 at 12:08
| Comments (5)
I like what little i've seen of Everett Station Lofts -- but unfortunately, I can't go in because my wife, a professional print artist and photographer, is not welcome there. She uses a wheelchair, and most of the lofts are not wheelchair accessible -- thresholds at the door are not to code -- despite the fact that it would require very little expense to make most of them accessible. They also host a big party and sale on the roof that also excludes people with disabilities.
This is unconscionable, especially for a place that, due to nonprofit status, receives tax breaks (a kind of public subsidy) and was financed partly by the Portland Development Commission. It's also short sighted and stupid, as it excludes people like us who would likely want to buy some art.
Until those spaces stop discriminating against people with disabilities, we won't be buying any art there. When we and our art-loving friends and visitors go art-browsing, we go to places that welcome us.
In future reviews of these and other inaccessible spaces, PORT would do readers a favor by noting that they're not accessible to all. That would spare us a trip to places we checked out based on a review, only to show up and find that we couldn't get in.
Posted by: brett at September 21, 2006 02:04 AM
Thanks for reading, you make excellent points and it is important to bring these things to Portlandís attention. Maybe pointing out the need will increase arts funding in some way?
Also, itís true some of the shows we recommend are very difficult to get to and we can certainly point out accessibility issues more in the future.
Posted by: Double J at September 21, 2006 10:16 AM
Brett - Having formerly worked for VSA Arts (six years) I realized before opening my space at the Lofts (now three years hence) that accessibility was important for me as a programmer, as were issues of fire code, so it was a balancing act. I was so honored when folks of all abilities had access to my space. I will never forget one of my regulars, Callahan, who came to most shows. And there were a good handful of others. In these days of mandatory particulars in and around the ADA I cannot agree with you more. The issues you bring up only skim the surface of the often too lax ideologies around access, across the board, in the cultural realm. I must say I was happy to see the provisions PICA made for ramps, etc, into funky, otherwise normally inaccessible spaces. When not all events can be for all audiences (historical spaces, lighting particulars) we can all be more conscious and proactive.
In New England, back in the late 80s I helped pioneer a cultural access guide to museums, performing art spaces and other institutions which detailed physical and other access (see: http://www.accessexpressed.net). As spaces change and develop, it is important to be an active spokesperson for yourself and those in your life at every turn. I would assume that David over at the Everett Lofts (503-222-3425) would want to hear from you about your concerns - as would the directors of ArtSpace USA (http://www.artspaceusa.org/about/staff.htm).
Posted by: TJ Norris at September 21, 2006 03:17 PM
Tying two Port features together Mahaffey Fine Art got its foothold in Portland at the Everett Station Lofts back in 1992. Back then the lofts were filled with creative people coming into town from other places in the country, most of us finding it very tough to make a go of it here in Portland.
Posted by: raema at September 23, 2006 10:42 AM
just so folks know i went by everett to see if there had been any progress on the ramps that were promised to be in place by 5/3. my quick glance didn't show anything new. my attempt to reach their manager have gone unanswered. curious if anyone else has inside scoop?
Posted by: carolezoom at May 15, 2007 12:11 AM
Post a comment
Thanks for signing in,
. Now you can comment. (sign
(If you haven't left a comment here before, you may need to be approved by
the site owner before your comment will appear. Until then, it won't appear
on the entry. Thanks for waiting.)