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Nicky Farms

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In the summer of 2020, PSAA was contacted by the owners of Nicky Farms USA in the Central Eastside Industrial District of Portland. A pioneer in the seasonal ‘farm to fork’ Northwest food movement, Nicky Farms provides sustainably-raised specialty game and high quality meats to restaurants in Portland and Seattle, along with selling wholesale to the public from their Central Eastside location.

Working closely with PSAA management, Nicky Farms owner Geoff Latham selected a pair of well-known and respected local street artists, Demecio Sierra and Galen Malcolm, to paint a vibrant new mural on the front and side of their building located at 223 SE 3rd Ave. PSAA and this artist team had recently painted the old Salvation Army building next door to Nicky Farms, and thus were familiar with the site having worked in the neighborhood for the past few months. Having Miller Paint located just a couple of blocks away was also a great support. Special thanks to Bruce Zhen, Nicky Farm’s site manager for helping to coordinate painting logistics and providing the artists with extra support during this mural work.

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PSAA and the artists worked with Geoff to design a mural that highlight’s Nicky Farm’s commitment to sourcing and supporting sustainable products and biodiversity. Specifically, the mural focuses on Nicky Farm’s Hawaiian Island Program and its farm in Aloha Oregon.

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2020 has been a difficult year for working independent artists. PSAA is thankful now more than ever for the support from Nicky Farms during this unprecedented time in our city’s history. This commission was one of the only projects that was initiated after the COVID-19 pandemic began. The partnership is a great example of what is possible when businesses and property owners connect with, and give back to the local artist community. PSAA is proud to add this site to a growing list of public art activations in the new Central Eastside Mural District!

PROJECT SPONSORS

Salvation Army

PSAA introduces our newest Community Art project at the old Salvation Army site at 139 SE MLK Blvd in the Central Eastside Mural District. We worked with over 55 local and regional artists at this site, adding approximately 22,680 sq. ft. of new public art to Portland.

This building was originally erected in 1893 as a hay-and-feed storage space. In 1913, it was acquired by the Salvation Army as an “industrial home” or tabernacle, sheltering and serving food to homeless unemployed men. It’s history of supporting the community now continues with this new chapter as an open air free art gallery featuring the work of graffiti crews, alongside veteran and emerging street artists. 

This site is part of PSAA’s Community Art Program, a unique place-based donation program that facilitates community artwork on buildings. These spaces provide abundant opportunities to local and visiting artists, a safe and accessible place for diverse artists to practice and display their work. For the larger community, this program offers the public with free art galleries, providing fresh and exciting new public art experiences in our cities. Community art projects are made possible with donation support from property owners and business sponsor partners.

For better or worse, cities constantly change, and Portland is growing rapidly. With growth comes growing pains and unease. The Central Eastside in particular is developing rapidly with high rises replacing old warehouses because of new height allowances and zoning in effect. PSAA has made a commitment to preserve and maintain spaces for graffiti style art productions, giving opportunities and stipends to artists to paint and do their own thing.

 



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Boarded-Up Murals

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Image courtesy of @PortlandHistory

Image courtesy of @PortlandHistory

Countless businesses throughout Portland have closed their doors in response to the COVID-19 pandemic. Many of these local businesses, especially coffee shops, bars, and tattoo shops also used to employ independent working artists in our community, which are now laid-off.

PSAA is doing what we can to support working artists during this time. As a very small non-profit, we have taken a pretty significant hit in our commission, tour, and community programs. PSAA’s resources are limited and we too are struggling, but PSAA would like to help support and make connections in the community during this difficult time.

If you are a business or property owner in the Portland Metro Area, with boarded-up windows, we can help connect you with talented artists to paint temporary murals. If you are a business in downtown or NW Portland, PSAA has some support from Neighbors West-Northwest to help make those projects happen.

 

GET ON-BOARD!

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BUSINESSES AND PROPERTY OWNERS

Interested business owners are encouraged to email PSAA at info@pdxstreetart.org. When emailing, please send a photo of the boarded-up windows, the site address, and board dimensions. This program aims to help support struggling artists. There is no city-funding yet for providing these services, so support has to come from the business community to make this happen. Estimating anywhere from $5-$10 per square foot for artwork is suggested. If you can’t afford to make a contribution, please contact your neighborhood or local business association to see if they can help. Some artists are willing to exchange their services for gift certificates, free products, etc, but painting supplies still cost money and PSAA aims to support the artists’ time and labor as well.

ARTISTS

If you are a local artist interested in painting, please sign up on the PSAA Mailing List to receive upcoming open Calls to Artists. Some boarded-up projects will be managed directly by PSAA, others will be posted as open calls where artists can contract the property owner directly to apply.

PSAA highly encourages artists who want to help and participate to take action and just start reaching out (email & calls) to boarded-up businesses in your neighborhood, asking if you can paint. Direct outreach by artists has always and continues to be the best way to secure spaces.

DONATE

A lot of local boarded-up businesses are really struggling right now and don’t have cash on-hand to support the hard work these artists are doing. This special program is a community effort to raise everyone’s spirits during this difficult time. If you are able to make a tax-deductible donation to this emergency PSAA program, it will greatly support the coordination of all this, and go straight into the hands of working artists. All sponsors who are interested, will also be acknowledged by name and/or their logo included at the bottom of this website.

PSAA BOARDED UP MURAL PROJECTS

 

QuarterWorld Arcade

Temporary mural production and wheatpaste installation on Tanker Bar & QuarterWorld Arcade, at SE 48th and Hawthorne. Murals by FIBER and EKOSE. Wheatpaste installation by David DaCosta.

Really Big Video

Really Big Video (539 NW 10th Ave) with artists Heysus, VALLE, Daniel Santollo, Scum Co, and LevelHeadedPress.

Communion

Communion (3556 SE Hawthorne Blvd) with artists Emily Kepulis, Alicia Schultz, and Nori Rinaldo. Special thanks to OPB’s Oregon Art Beat for covering these projects!

Treehouse Collective

Artist Latoya Lovely in front of their mural at Treehouse Collective.

Artist Latoya Lovely in front of their mural at Treehouse Collective.

Murals with a diverse line-up of local artists for Treehouse Collective on Sandy Blvd. Featured artists include Habiba Abdul Rahim, Latoya Lovely, Wetiko, DesignNine, Lawson Arts, Violent Wire, and Case12.

The boards at Treehouse Collective are no longer on display, as the company has opened back up. After artists were provided the opportunity to pick up their pieces, PSAA has saved a few of the smaller murals for future display at other properties.

World Trade Center

Artist Betty Alcaraz in front of their mural advocating for Black Trans Lives in downtown Portland. Photo by JDA Productions.

Artist Betty Alcaraz in front of their mural advocating for Black Trans Lives in downtown Portland. Photo by JDA Productions.

Mural project with a team of local BIPOC street artists on panels surrounding the massive World Trade Center building in downtown, Portland. Support from NeighborsWest Northwest and wall space provided by Portland General Electric.

Artist line-up on the World Trade Center includes: Natalie Clarise Van Clark, Jamaali Roberts, Nicole Light, Carrissa Carbajal-Baltezore, Apikale Kuli, Betty Alcaraz, Rachele Mosley, Breana Depriest, Quanie, Belevroc, Uter, and Naomi Likayi.

If the boards stay up, we will have more murals coming soon!

Artist Naomi Likayi (@mungala_nao) painting a mural at the World Trade Center in Portland OR, along with other local muralists on-display. Video produced by @lovetshot

Artist Jamaali Roberts in front of their mural on the World Trade Center in downtown Portland.

Artist Jamaali Roberts in front of their mural on the World Trade Center in downtown Portland.

Artists Carrissa Carbajal-Balttezore and Nicole Light.

Artists Carrissa Carbajal-Balttezore and Nicole Light.

“We decided on the to keep the message of this mural vague because everyone has something they’re dealing with; whether it is racism, COVID-19, etc., we felt that this was an awesome umbrella phrase that you could apply to so many situations. In these crazy times, rising above the craziness is almost necessary to stay afloat and sane. - Nicole Light”

For many of the World Trade Center artists, this mural project was their first time painting large scale in public space. Including for Carrissa Carbajal-Balttezore and Nicole Light, with their Rise Above Mural.

Carrissa is an illustrator living in Vancouver, Washington. Nicole Light is a 26 year old Filipino-American graphic designer, born and raised in Portland, Oregon. They started out their design career with printmaking and calligraphy, and later fell in love with graphic design.

Artist Naomi Likayi, at the World Trade Center, photograph by Tim Trautmann.

Artist Naomi Likayi, at the World Trade Center, photograph by Tim Trautmann.

RELATED NEWS

SPONSORS

Analyzing the Data: Portland “Hate & Political” Graffiti

The City of Portland manages graffiti complaints primarily though the Graffiti Program, which is operated under the Office of Community & Civic Life. This program works with residents and business owners to identify, report, and remove graffiti in the city. They also periodically provide free mural clear coatings to community groups and non-profits.

The City’s Graffiti Program has an annual budget that goes towards paying for personnel salaries, contracts with graffiti removal companies, and providing volunteer cleanup supplies. Although the Graffiti Program’s staffing has changed over the years, as of 2019 it employed one full-time program coordinator and a part-time assistant.

The Willamette Week published data obtained via a public records request. This data shows that the Graffiti Program has logged 99 instances of what they classified as “hate or political graffiti” in Portland since Nov. 1, 2016.

The data showed that almost half of the graffiti reported under this classification during this time (46 of the 99 instances) included some sort of negative reference to Trump. The most common tag that is being classified as “hate or political graffiti” in Portland since the election is "Fuck Trump." The second most common, was swastikas with 24 reports.

Infographic Created and Published by the Willamette Week, 3/29/17

Infographic Created and Published by the Willamette Week, 3/29/17

At first glance, the “rise” of swastikas appearing on our streets is obviously very concerning. We would however wonder, how many reports of these there were prior to the election, on average. We have unfortunately seen swastikas sprinkled throughout Portland’s graffiti for years. Oregon has historically been a hot bed of KKK activity and was founded as a “whites-only” state. In the mid 1920’s, the KKK's membership was estimated between 14,000 to 20,000 members. During that time, Oregon’s Governor Walter M. Pierce (1922-1926) overtly supported by the Klan and promoted the Klan’s agenda. It was not until 1999, when the Oregon state legislature held a "Day of Acknowledgement" to recognize the past discrimination earlier legislatures had sanctioned, and finally offically removed language from the state's constitution preventing African Americans from owning property in Oregon.

What is concerning PSAA about this report, when it comes to graffiti advocacy, is that the Graffiti Program is lumping “Fuck Trump” graffiti (and other similar anti-Trump graffiti) in together with swastikas and other real hate graffiti directed at minorities – all under this broad umbrella of “hate or political graffiti.”

At a heated public meeting on March 3rd, 2017, the Graffiti Program made a presentation to City Council about the need for more graffiti abatement funding, citing first and foremost a “significant increase” in reports of “hate graffiti.”

This knee jerk reaction to call for increased resources for graffiti abatement correlates with reports that Oregon leads the nation with an increase of “hate incidents’ that have swept the U.S. in the month since Trump was elected.

During a City Council meeting, Commissioner Nick Fish picked up on this blending of these two types of graffiti, asking ONI what they classified as “hate” or “biased” graffiti and if they had a “working definition” of it. In response, the Graffiti Program representative said that hate graffiti was “against historically oppressed groups.”

So, based on their own definition, is the City of Portland saying that Trump and his cabinet are a “historically oppressed group?” Is the fact that they City of Portland is lumping anti-Trump graffiti in with real hate graffiti against historically marginalized and oppressed groups inflating the counts?

We see “Fuck Trump” and “Not my president” tags as understandable public outcry against a possibly illegitimate presidency that represents the wealthy 1% as very different from swastikas or a ‘Fuck Feminism” tags. Although these may all be “political” in nature, there is a huge difference when it comes the symbolism and motivations involved – either standing up against oppression or promoting it. 

We highly suggest the City of Portland further specify and modify their working definition of “hate graffiti” and clearly separate real hate graffiti that targets "protected classes" as outlined by the Civil Rights act of 1964 and Oregon law (Chapter 659A), from general political graffiti that is not directed at these protected and oppressed groups.

To compare Trump to groups that have been subjected to generational hate and mass genocide is an insult. Do not sound un-needed alarms to an already distressed and distraught community. And do not use inflated and skewed data as a tool to argue for more graffiti abatement funding.

Just this week, the home of an Iranian-American man in Troutdale was targeted by anti-Muslim hate graffiti.  This type of targeted and hateful graffiti is the real concern and crime.  The City of Portland should be focusing on preventing and prosecuting real hate graffiti, and supporting programs like the new Portland United Against Hate to develop collaborative strategies to protect vulnerable communities from hate and intimidation. All of this comes at a bad time as ONI is under public scrutiny after the recent and surprising resignation of its Director after a scathing audit of the agency.

It is also important to understand the larger context in which the Graffiti Abatement Program is operating within and how its funding has changed over time, along with the amount of graffiti found on Portland streets.

From 1995 to 2013 there were a total 10,341 incidents of graffiti reported in the City of Portland, which accounted for 8% of the total counts of vandalism. Between 2004 to 2013, vandalism in Portland decreased or remained stable except in a few neighborhoods.

Between 2009 and 2017, the number of graffiti reports being made has increased, but this could partially be due to the implementation of the pdxReport app making it much more easy for people to report things like graffiti and potholes.

Between 2009 and 2012 the budget for the Graffiti Program also increased. However, this increase in graffiti abatement spending did not have that much effect on decreasing the amount of graffiti reported.

For instance, in 2011-2012 GAP’s budget spiked to $527,711. The increase of the GAP budget in 2011 was to support the salaries of two Police officers dedicated to graffiti investigations. This huge increase in spending was justified due to reactionary concerns after Portland hosted a large graffiti art show in the summer of 2011. The Special Delivery show, organized by Endless Canvas an Oakland-based street art collective, drew artists to Portland from all around the country and was one of Portland’s largest art events in the past decade. After this spike in graffiti abatement spending the number of graffiti reports made in 2012 went down some, but still not to pre-2009 levels.

Over the past few fiscal years, between 2014 and 2017 the Graffiti Program budget has remained fairly consistent, around 350k, as have the number of reported cases of graffiti at about 8000 per year.

If you would like to comment on ONI’s upcoming budget decision on June 8th, please email Commissioner Chloe Eudaly who oversees ONI and attend the City budget hearings on April 11th and 19th to voice your opinion. 

Eastern Oregon Mural Festival

Treasure Valley Cannabis Company presented the first mural festival in Eastern Oregon on Oct 11 - 13, 2019 in Ontario, Oregon.

The goal of the Eastern Oregon Mural Festival was to engage the local and surrounding community through the process of creating art and interacting with the artists themselves. Through this process, artists and the community came together to create lasting works of public art that would be accessible to everyone in the Treasure Valley region. Permanent murals were painted along Ontario’s downtown main street by Forest Wolf Kell (Portland, OR) and Sector Seventeen (Boise, ID).

Forest Wolf Kell mural painting in progress

Forest Wolf Kell mural painting in progress

Moore Park, in downtown Ontario, hosted a community art fair where artists from Ontario, Portland, Eugene, and the Boise area hosted pop-up merchandise booths, glass blowing demos, event screen printing (by Tour Print), and several live painting (sponsored by Green State of Mind).

Mural in-progress by Sector Seventeen team

Mural in-progress by Sector Seventeen team

People from the community became inspired. That weekend, there was a buzz in downtown with this new flurry of activity activating the streets. It was a great coming together of Oregon and Idaho creative communities.

Live painting by @ponopinto and @dreyfus.art

Live painting by @ponopinto and @dreyfus.art

Treasure Valley has plans to move forward with more murals in Ontario and help the community increase its reputation and recognition as a hub for craft industries.

Photos @treasurevalleycannabiscompany and @portlandstreetartalliance

A Place Called Home

Street art has arrived at the Portland International Airport. Through a partnership with the Port of Portland and Portland Street Art Alliance, two local artists, Alex Chiu and Jeremy Nichols, created a mural in the north pedestrian tunnel at PDX that celebrates the people, history and natural wonders of the Pacific Northwest.

Port of Portland leaders believed it was important to showcase the diversity of the region and take a fresh approach to art in the terminal, especially in a space that many travelers pass through every day to access the parking garage. That’s why the Port of Portland partnered with PSAA to help breathe new life into the space. The goal was to create a magical and fantastic landscape, inspired by the culture and spirit of Portland and the Pacific Northwest. 

PSAA's Executive Director Tiffany Conklin said, "PSAA is excited to build this new partnership with the Port of Portland. We have always enjoyed traveling; and experiencing street art around the world is a great way to learn about other cultures and traditions. Street art enriches our everyday lives. It can help foster a unique sense of place and pride of our local communities, while also providing visitors with a way to connect and understand the PNW lifestyle."

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The Port also saw this as an opportunity to celebrate an art style that is well established in Portland. While art is common at airports, partnering with artists who create large-scale murals on walls and buildings throughout the city isn’t a standard approach. Given the city’s support for street art, a partnership with PSAA felt like a natural extension of the airport’s work to bring the best of Portland’s food, culture and art and music to travelers. 

The PDX mural is part of the Port of Portland’s broader Art Program, which maintains rotating exhibits throughout the airport terminal in addition to permanent art space at PDX and the Port headquarters. The program focuses on creating space for a variety of artists in different mediums. That includes a new permanent display created by internationally recognized artist Jacob Hashimoto, which is coming to Concourse E in 2020.

“It was important to us that the mural reflect themes of community, inclusion and home,” Lise Harwin with the Port of Portland’s Corporate Communications team said. “From the beginning, Chiu and Nichols gathered ideas and inspiration from both Port employees and our community partners at Native American Youth and Family Center (NAYA), Urban League of Portland, Asian Pacific American Network of Oregon (APANO), Immigrant & Refugee Community Organization (IRCO), Latino Network and Black United Fund.”

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All images, figures and landscapes were inspired by this feedback and the desire of stakeholders to see diversity, family, sharing food and nature represented.

Muralist Alex Chiu reflected on the massive project, “Part of my role as a muralist is to engage with community in order to reflect what it wants to see and how it wants to be seen.  After processing the feedback and concerns of representatives of cultural organizations, community leaders, and Port or Portland staff, I had the privilege of painting the diverse faces of Portland and the Pacific Northwest.  Although it would be impossible for me to include all cultures and communities represented here in Portland, I feel that this mural highlights important aspects of local culture and daily life that truly does reflect a sense of home for different communities in the area.”

The artists began painting on September 10 and completed the mural on October 31, 2019. The mural will eventually include a content key to help local, national and international travelers understand who and what is pictured and why.  The mural is now on display and open to the public. It is located in the North Tunnel of the airport (before security), between the parking garage and baggage claim.

After the mural was completed, the Port of Portland hosted a mural unveiling event where members of the community gathered to celebrate the new artwork. Several iconic Portlanders depicted in the mural, such as native elder storyteller Ed Edmo, blues musician Norman Sylvester and Rose Festival Queen Mya Brazile were in attendance, along with representatives from community groups like Vanport Mosaic, Latino Network, and the Confluence Project.

About the Artists

Alex Chiu is a second-generation Chinese American who has two daughters, a 4-year-old and 10-month old. His parents began their careers as accountants before transitioning to help other immigrant families start their own businesses. Chiu brings his own childhood experience growing up in the United States – combined with his hope for his daughters – to inform his art. As Chui said, “My art is about redefining what being American means. America is a nation of racial diversity, immigrants and refugees, different languages, different spiritual beliefs, and different cultural practices. I want to celebrate our differences. I want people to relinquish their fears of the “other.” My art is about breaking those barriers.”

Jeremy Nichols grew up traveling regularly between upstate New York and Tokyo – his birthplace and his family’s home country – all the while growing up in the suburbs of Ohio. Like many families with immigrant roots, the contrasting cultural atmospheres confused Nichols as a child – leading him to question where to really call home. Nichols brings this “outsider looking in” approach to his artwork, combining elements of design and nature to “depict the relationship, energy and juxtaposition between nature and culture. I try to present the viewer with a sense of how I feel and see the world around me.”

IN THE NEWS

Special thanks to Sam King (@Sammysam_iam) and Jerry McCarthy for contributing photographs.





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Farmworkers in Lake Oswego

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Local muralist restores and creates a mural in Lake Oswego, honoring farmworkers and cooperatives

A partnership between Wilco Farm Stores and the Portland Street Art Alliance is revitalizing and bringing new public art to Lake Oswego, Oregon

Fresh new public art is up in Lake Oswego thanks to a new partnership between Wilco Farm Stores and the Portland Street Art Alliance (PSAA).  Located at 17711 Jean Way in Lake Oswego, OR this is an exciting new addition to the public art landscape of Lake Oswego.

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Long-time Portland-based muralist, Hector H. Hernandez restored a historic mural designed by illustrator Mike Benny and painted by ArtFx in 1998. The artwork honors and celebrates the farmers and local farming cooperatives that have a long history in the Willamette Valley region (Stayton, Lake Oswego, Donald, Mt Angel). Hernandez worked with the Wilco team to develop additional scenery to extend the original mural by an additional 864 square feet.

Mural painting and restoration by Hector Hernandez. Photo: Sam King

“Agriculture is a vital part of Oregon’s culture. We wanted to help celebrate the area’s heritage in way that adds value to the community. This was a perfect opportunity to share the story of farming in a modern way,” said Sam Bugarsky, CEO of Wilco. “We are excited about becoming a more active part of the Lake Oswego community. This was just a first step.”

Jerad Lillegard, the Project Manager overseeing the mural-making process, said, “It has been a fun and rewarding opportunity to add to the beautification of the Gateway of Lake Oswego. By working with local muralist Hector Hernandez, he has enabled us to visually describe some of the lifestyle activities that Wilco serves through our customers. Our team at Wilco is very excited to open our new store and join this beautiful community.”

Muralist Hector Hernandez. Photo: Sam King

Hector Hernandez has produced murals and other artworks throughout communities and educational institutions in Oregon since 1995. Permanent exhibition murals by Hernandez are located at the OSU Memorial Union, Portland Community College (Rock Creek Campus), Portland State University, as well as Independence High School, Canby School Districts, Parks and Recreations among others. Hernandez has shown his works in numerous galleries across Oregon, Japan, and Mexico. Among the subjects and themes reflected in his murals are the community involvement on issues such as environment, education, multiculturalism, and social change.

Portland Street Art Alliance is a 501(c)3 non-profit that provides access to resources, networking platforms, and professional development opportunities for Pacific Northwest street artists. Since its founding in 2012, PSAA has managed over 100 private and publicly-funded street art projects, collaborating with hundreds of artists in the region.

PSAA's Executive Director Tiffany Conklin said, "PSAA is excited to work with Hector Hernandez, Wilco, and the City of Lake Oswego for the first time. This mural is an exciting new addition to the public art landscape, and we are happy to see a historic mural being saved. Street art enriches our everyday lives. It can help foster a unique sense of place and pride of our local communities, teach people about the rich and diverse history of our region, while also providing visitors with a way to connect and understand the PNW lifestyle."

Muralist Hector Hernandez. Photo: Sam King

“We hope this brings people closer to the story of farmers and farming in our region. As a brand we celebrate the passions of small town living and this mural expresses those beautifully,” says Maria Olivier, VP Marketing at Wilco.

In reflecting on the process thus far, muralist Hector Hernandez said, “this project has been quite a challenge to undertake due to the site requiring that painting be done between nearby cables and large trees. It’s also a challenge to match my artwork to someone else's when doing the restoration work. I aim to bring my perspective of the Oregon landscape and the farming activities to this project. I hope my approach contributes to ample the perspectives of the Oregon landscape, with a refreshing view of colors and motifs.”

Photo Credits: Sam King (@Sammysam_iam) and Hector Hernandez.

MEDIA COVERAGE

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Sunnyside Piazza

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SUNNYSIDE PIAZZA

Since 2000, neighbors of Portland’s historic Sunnyside neighborhood have come together every Spring to re-paint a huge sunflower at the intersection of SE 33rd and Yamhill, one block off Belmont. Originally, without City permission, neighborhood residents came together to claim ownership of their public space and create a vibrant community gathering place.

This was one of Portland‘s City Repair’s first projects that aimed to repair and reclaim underutilized space. City Repair facilitates artistic and ecologically-oriented placemaking through projects that honor the interconnection of human communities and the natural world. City Repair provides support, resources, and opportunities to volunteers from each neighborhood project. 

The original team that created Sunnyside Piazza included Mark Lakeman (co-founder of City Repair), Dr. Jan Semenza (a neighbor and professor of public health), and Dr. Lisa Weasel (a neighbor and professor at PSU’s Department of Women, Gender, and Sexuality Studies).

In an effort to create community-oriented spaces, artist Brian Borrello designed a huge orange sunflower, inspired by Fibonacci spiral geometry, in the middle of the intersection and installed multiple art pieces at each corner. Ever since then, engaged residents have turned this intersection into a space for art, expression and community building. 

In 2003 an academic study entitled “The Intersection of Urban Planning, Art, and Community Health: The Sunnyside Piazza” was lead by Dr. Semenza, and interviewed over 700 residents. Findings suggested that the community experiences more happiness, health and safety because of the repair. The Piazza also became a a central point of the Sunnyside Neighborhood and Historic Belmont Main Street, in the heart of Southeast Portland. It blossomed into a community cooperative movement that has cultivated social connectedness and a sense of community that gains momentum every year.

A lot of planning and effort goes into making this happen every year. Starting months before the event, organizers start planning. They canvas the neighborhood getting the required signatures for the block party permit, so they can close the intersection off to traffic and provide their community with a safe space to spend the weekend together, re-painting, talking, picnicking, and playing. They take inventory and order paint materials, repair benches, cob structures, clean-up poles, plant new flowers, coordinate a team of volunteers, and gather monetary and material donations from local businesses and the community.

Local businesses donate funds and supplies to help support this annual community event. Escape from New York Pizza on Belmont hosts an annual Piazza Pizza Party fundraiser in mid-May where 30% of all proceeds between 5pm-10pm go towards the project. Other local businesses, like The Sweet Hereafter and Dick's Kitchen, make significant monetary donations that help the community purchase the paint and supplies needed to repaint the sunflower every year. 

What also makes Sunnyside unique is that in addition to the commissioned and organized art at the Piazza (like the painted sunflower, cob structures, mosaics, sidewalk trellises, and planter barrels), there are several un-commissioned street art interventions in the area. These unofficial pieces of art vary, but often include birdhouses, chalk boxes, metal sculptors, wooden plaques, yarn installations, and various forms of art adhered to the backs of signs and poles. Passersby tend to notice and be drawn to this community art, it is a real tourist destination. Visitors often ask questions, touch, and take pictures of these quirky interventions.

Brooklyn NY-based Portlandia star, Fred Armisen even commented on Sunnyside neighborhood’s distinct character:

“At the corner of Southeast Yamhill and Southeast 33rd Avenue is the most Portland-y spot in the city. There is an artwork painted on the actual road. It’s like a sun or something. It’s too big for me to remember exactly what it is. It just looks cool and feels cool. I feel the most like I am in Portland when I stand in this spot. You’ll see what I mean. It’s residential, but there’s something about it that makes me feel very much at peace. Not like nature-guy peace. I hate that. I mean like “Hey, I am going to stand here for a few minutes and not think.” It’s quiet but you can still hear some cars go by a street over on Belmont. It feels European but still American. I stand by that description.”

Along Belmont, there is a high-concentration of businesses between 33rd and 35th Avenues. Most of these mixed-use properties have high real-estate values due to their visibility and foot-traffic along this historic arterial roadway emanating from downtown. Through the 1980s and 90s, Sunnyside struggled with problems such as drug and alcohol abuse, crime, and vandalism. Younger creatives were drawn into the neighborhood by its cheap rents, historic bungalows and Victorians, and its proximity to public transit. Just a few years ago in 2010, many of the businesses along Belmont were closed and boarded up. Now, all storefronts are occupied and business is booming. Sunnyside often teems with activity. On sunny days, people fill the sidewalks, eating, drinking, taking pictures, sitting on benches, and visiting local shops. When the sun sets, the night crowd descends, frequenting the bars and pool halls on the strip.

Whether it is authorized or un-authorized by the City does not seem to concern many Sunnyside residents. They see this as their community space and their responsibility to maintain. This is an active community that feels strongly about the power of community art and access to the public spaces around them.

For five years, Portland Street Art Alliance managed the project, along with fellow dedicated neighbors. In tradition, PSAA has now passed that touch on to another group of local neighbors.

Follow Sunnyside Piazza on Facebook and Instagram for updates! 

All Photos: © PSAA | © Anton Legoo

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Bread & Roses Mural

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Old Mack Truck Warehouse Transformed into Vibrant Mural Honoring Labor Rights History and Activism

Work has begun on a new community art space organized by the Portland Street Art Alliance (PSAA) at the Steel Bridge-head in the Rose Quarter of Portland. The warehouse, owned by the Kalberer Company, has been used as a storage facility for many decades. The property is also used by TriMet and the City of Portland for parking. The mural entitled “Bread & Roses,” honors the working-class history of this site, as being the headquarters of Mack Trucks International and being situated at the Steel Bridge head and Union Pacific railroad tracks.

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The Mack International Motor Truck Corporation constructed this 35,000 square-foot building in 1924, moving their headquarters from downtown Portland to across the Willamette River. It was the largest structure in Oregon devoted exclusively to the sale and services of a single make of motor truck. At the street-level corner, was the showroom and unique movable partitions which separated new and used trucks. In the basement, there was a boiler, lockers, showers and storage for the workers. The streetcar passed right in front of the building, turning north onto what was then Adams Street. Later in the 1950s, the building was bought and used by Roberts Motors.

The new community mural includes a variety of styles, painted by about a dozen local and visiting artists. The artwork honors the working-class history of the site as being the headquarters of Mack Trucks International and its location at the Steel Bridge head and Union Pacific railroad tracks. The mural pays homage to the struggle for workers’ rights.

Mural of Rose Schneiderman by N.O. Bonzo

Mural of Rose Schneiderman by N.O. Bonzo

The painted doorway mural by Portland-based artist N.O. Bonzo is a homage to Rose Schneiderman the Polish-American feminist and one of the labor union leaders who led the 1912 labour worker strike. With her activism, Rose drew attention to unsafe workplace conditions following the tragedy of the Triangle Shirtwaist Factory and was one of the founding members of the American Civil Liberties Union. Rose is credited with coining the phrase "Bread & Roses," to indicate workers’ rights to something higher than subsistence living. For nearly half a century, Rose worked to improve basic human rights including living wages, decent hours, and safe working conditions for women – the symbolic “bread.” She also tirelessly worked for “roses” such as schools, recreational facilities, and professional networks for trade union women, believing working women deserved more than meager subsistence. The legendary graffiti artist, GATS painted their signature masked figure across the top of the building along with a slogan that reads “The worker must have bread, but she must have roses too”- a popular slogan used during this uprising. Supporting the theme of worker and women’s rights, visiting Miami artist Claudio Picasso painted a portrait of Marie Equi (1872-1952), a doctor in Portland, devoted to providing care to poor patients.

Mural by GATS.

Mural by GATS.

Mural of Marie Equi by Claudio Picasso.

Mural of Marie Equi by Claudio Picasso.

Commenting on the mural work’s message, N.O. Bonzo stated, “We know that many of the conditions that workers struggled against in 1912 are still experienced today by peoples worldwide. Exploitation, sexual and physical violence, wages which do not meet our needs, and conditions designed to alienate and isolate us. This piece celebrates both our victories and our current and future struggles till the day we all are free.”

The artist team painting the backside of the building include rail-hopping graffiti artists, Maddo, Clamo, and Boycott Yourself. This trio’s murals depict railroad and industrial-inspired imagery, including a horse and chicken - symbolic of early urban ties to rural life. The roses represent Portland’s strong working-class women throughout its history, and the chain represents the capitalistic and male-dominated political and social system that often prevents them from blossoming into their fullest potential.

Mural by Maddo and Clamo.

Mural by Maddo and Clamo.

This rotating art project is a win-win for local and visiting artists and property owners alike. Artists have space to build their portfolios and show new work, and property owners are giving back to the local community.

Mural work by Jeff Sheridan.

Mural work by Jeff Sheridan.

This project is also the result of new exciting partnerships for Portland Street Art Alliance, including ongoing sponsorship from Metro Paint and Miller Paint. “Supporting Portland Street Art Alliance is a way for Miller Paint and our partner MetroPaint to stay connected to the artist community in Portland. Our founder, Ernest Miller, was a muralist himself back in the 1890s when he founded our company on the promise to make paint specifically formulated for our Pacific Northwest climate” says Puji Sherer, Color Marketing Manager for Miller Paint.

Buildings such as this can be an important part of Portland’s public art landscape. They provide easily accessible spaces for artists to explore new techniques, build their portfolios, and interact with each other in a safe, comfortable, and open urban setting. Unlike commissioned murals, these community projects are much more organic and don’t have any planned sketches or timetables. Each team of artists choose their color scheme, designs, and make their own schedules. Artists are provided creative freedom and the opportunity to foster unique spaces for innovation and experimentation. PSAA manages the logistics, including securing the city’s original art mural permit and sponsorship, arranging for site access, managing painting logistics, media inquiries, and documenting the physical and social history of the site.

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Participating Artists (More to Come Soon!):

  • GATS (@gatsptv)

  • NO BONZO (@nobonzo)

  • MADDO (@murky.mind)

  • CLAMO (@imminentdecay)

  • OUCH (@ouchey)

  • CHET MALINOW (@chetmalinow)

  • DEPTHS (@horrible_kreatures)

  • OTHER (@other0ne)

  • JOINS (@desertstocross)

  • RAIN (@rizainwashizere)

  • JEREMY NICHOLS (@plasticbirdie)

  • CLAUDIO PICASSO (@cpwon)

  • JEFF SHERIDAN (@jeffsheridan)

BREAD & ROSES MURAL IN THE NEWS

SPECIAL THANKS TO ALL OF OUR SPONSORS

Sunshine Dairy

Logo Design by Forrest Wolf Kell

In the Spring of 2019, PSAA was approached about an installation at the Sunshine Dairy factory - a 39,000-square-foot plant located at 801 NE 21st Avenue, in Portland’s Kerns Neighborhood.

Sunshine Dairy is iconic for not only their milk products, but also their massive spinning milk carton that sits atop the roof of the building. In May 2018, Sunshine Dairy filed for Chapter 11 bankruptcy, closing their historic location after 83 years of dairy production. The Oregonian newspaper reported that Sunshine's bankruptcy reflects changing dynamics in the dairy industry, Boverman said, driven primarily by consolidation among dairy producers and grocery chains, which has given the supermarkets more pricing power.

Given the Sunshine Dairy factory has structural foundation issues, Eastbank Development decided to redevelop the site. This was not surprising considering it is in prime location, right off I-84. This building was originally constructed in 1935, and has unique industrial zoning, which allows for both residential and mixed-use development at the site.

Hand of Dogg has been hard at work for over a month on this massive mural, using only brush work. Photo: Paul Landeros

Hand of Dogg has been hard at work for over a month on this massive mural, using only brush work. Photo: Paul Landeros

Realizing that the factory would be sitting vacant for almost a year, Eastbank decided to activate this space with street art until its demise. With the help of a donation, PSAA was able to arrange for four teams of artists to completely cover the factory building with fresh new art of their choosing. PSAA covered most of the paint costs, and artists are donating their time to make this happen. Over 30 artists are now on display on walls of the factory. This temporary and rotating art project is a win-win, where local artists can have space to practice and the community gets new art.

Aerial view of Sunshine Dairy. Photo: InvoicePDX

Aerial view of Sunshine Dairy. Photo: InvoicePDX

The mural wall along SE 20th was managed by InvoicePDX and Hand of Dogg and displays a mixture of classic graffiti-style text, and hyper-realistic sign painting techniques. Participating artists in the first round of painting include: DETR, YATSE, Y…

The mural wall along SE 20th was managed by InvoicePDX and Hand of Dogg and displays a mixture of classic graffiti-style text, and hyper-realistic sign painting techniques. Participating artists in the first round of painting include: DETR, YATSE, YUCKO, COPS, GIMER, ENVY, FNGER, AT ME, KENRO, and GRISLE.

Photo: Paul Landeros

Each side of the building was organized by a different Team Captains, so each side of the building has a distinct style and vibe. PSAA aims to empower local leaders in the arts through projects such as Sunshine Dairy. The wall along NE Pacific St (pictured below), was managed by JOINS, and the mural was a collaboration between JOINS, Jeremy Nichols, and RASKOE. Jeremy wanted to practice his new hyper-realistic rendering of animals that he started painting in the Dallas recently for another large-scale mural. The bears were all done using aerosol spray paint and took Jeremy about 2 weeks to complete, along with the forest background. RASKOE came in underneath along the bottom portion of the wall, adding 3D wildstyle graffiti pieces, masterfully blending these two unique styles.

JOINS laying down the lines. Photo: Tiffany Conklin

JOINS laying down the lines. Photo: Tiffany Conklin

Spaces like Sunshine Dairy are important pieces of our public art landscape, as they provide easily accessible space for artists to explore new techniques and build their portfolios. Unlike commissioned murals, these community projects are much more organic and don’t have any planned sketches or themes. Each team of artists chooses a general color scheme, and their own schedules. Artists are provided very open creative freedom, which provides spaces for innovation and experimentation.

In-progress mural along NE 21st Avenue, managed by Galen Malcolm of PSAA. Art along this wall included work by EKOSE, NEKON, NOTES, ADJUST, GIVER, VIDEO, FIBER, ABNR, KANGO, and Level Headed Press.Photo: Paul Landeros

In-progress mural along NE 21st Avenue, managed by Galen Malcolm of PSAA. Art along this wall included work by EKOSE, NEKON, NOTES, ADJUST, GIVER, VIDEO, FIBER, ABNR, KANGO, and Level Headed Press.

Photo: Paul Landeros

EKOSE working on a robotic character towering over the city below. Photo: InvoicePDX

EKOSE working on a robotic character towering over the city below. Photo: InvoicePDX

Detail of KANGO’s piece. Photo: Tiffany Conklin

Detail of KANGO’s piece. Photo: Tiffany Conklin

Artist at work at Sunshine Dairy. Photo: Tiffany Conklin

Artist at work at Sunshine Dairy. Photo: Tiffany Conklin

In-progress mural wall managed by the MLS crew in Portland, OR. Still in-progress. Line-up TBA!Photo: Tiffany Conklin

In-progress mural wall managed by the MLS crew in Portland, OR. Still in-progress. Line-up TBA!

Photo: Tiffany Conklin

Photo: Tiffany Conklin

Photo: Tiffany Conklin

Final shot of wall along SE 21st Ave, managed by InvoicePDX. Photo: InvoicePDX.

Final shot of wall along SE 21st Ave, managed by InvoicePDX. Photo: InvoicePDX.

Mural work by GATS. Photo: InvoicePDX.

Mural work by GATS. Photo: InvoicePDX.

HISTORY OF SUNSHINE DAIRY

Written By Josie Allison, Photos Scanned by Anton Legoo & Tiffany Conklin

In the 1930s, John Karamanos, a Greek restauranteur, wanted to start a dairy delivery service for his friends and founded Sunshine Dairy products. At the time, Portland was home to 50 independent dairy processors.

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For the next 83 years, Sunshine stayed committed to serving local food service industry, local manufacturers, and local retailers and co-packers with their personalized delivery and steadfast dedication to high quality, naturally-produced products. By 2018, Sunshine Dairy was a fourth generation, family-owned operation.

The company gained organic certification and was consistently committed to producing the highest quality dairy products through specialized processes that produced superior, fresh taste. Every load of milk was screened for antibiotics and surpassed the federal standards of quality and safety. Sunshine was devoted to the philosophy that natural is better.

Since the development of the bovine growth hormone rBST in 1994, the company sourced from farmers who signed an affidavit not to inject their cows with the artificial stimulant and sought to support farms with sustainable farming practices. In return for their promise, Sunshine paid the farmers a premium to compensate for the economic benefits that using the artificial hormone would have brought. In order to keep their prices low, the company was willing to accept smaller profits from each gallon of milk. In 2001, Sunshine officially became the first dairy in the region to buy exclusively rBST-free milk. The company reaped the rewards from their dedication to natural products as organic milk sales began to rise after growth hormones were increasingly introduced into mainstream dairy.

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One of Sunshine’s largest vendors was the Farmers Cooperative Creamery (FCC), whose members are nearly all small to mid-sized, family farmers from the Willamette Valley in Oregon, and Chehalis and the Yakima Valley in Washington

The shifting climate of the dairy industry and the consolidation of dairies throughout the U.S. pushed Sunshine Dairy into bankruptcy. Sunshine signed an agreement with Alpenrose Dairy, another company founded in Portland.

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Logo Design by Forrest Wolf Kell

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Fanno Creek History Mural

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In July 2019 artist Jeremy Nichols completed a large-scale mural in Downtown Tigard. The mural, entitled A Walk Through Time, is a interwoven tapestry of Tigard’s history and culture along the Fanno Creek corridor.

Working with local historian, Sean Garvey, and ecology specialists in the city, Nichols’ design incorporates images from Tigard’s past. The mural depicts a member of the Kalapuya tribe (the indigenous inhabitants of the area) alongside native flora and fauna, including Red-tailed Hawk, Western Painted Turtle, Great Blue Heron and Oregon Iris and Camas flowers. Nichols hopes that the mural will raise awareness about the original inhabitants of the Tigard area, as well as the local ecosystem. “It is important to me to create a mural that will stay relevant and be enjoyed by generations to come. I wanted to create a design that steps away from the norms of ‘traditional cultural’ murals and create a design with a more contemporary approach that is equally informative and significant,” says Jeremy Nichols, the artist designing and painting the mural. 

Mural Design Concept

Mural Design Concept

Located at 12553 SW Main Street, the mural is directly adjacent to the popular Fanno Creek multi-use trail on the recently renovated building home to several new Downtown Tigard businesses including Frameabl, Versus Board Games and Senet Game Bar. Building upon previous arts initiatives led by the City of Tigard and non-profit Tigard Downtown Alliance the mural will aid in the ongoing revitalization of downtown Tigard. Dylan Dekay-Bemis, the City of Tigard’s Economic Development Coordinator, believes the project will “increase access to art in Tigard, help improve walkability in downtown and draw attention to the great local businesses housed within the building where the mural will be located.”

In recent years, art initiatives have driven commercial success and interest in Downtown Tigard, including the annual Downtown Art Walk event, gateway art sculptures by artist Brian Borrello, an Art on Loan program that places art leased from local artists in locations around downtown, and the award-winning SubUrban street art exhibition. 

Artist Jeremy Nichols working on the Walk Through Time Mural in Tigard. Photo: Paul Landeros

Artist Jeremy Nichols working on the Walk Through Time Mural in Tigard. Photo: Paul Landeros

Portland based non-profit Portland Street Art Alliance (PSAA) facilitated the commissioning of Jeremy Nichols for the City of Tigard and will continue to assist the City in managing this mural project. PSAA Executive Director Tiffany Conklin explains that “the quality of our shared public spaces speaks volumes about what we, as a society, believe to be important. Public art projects like A Walk Through Time not only bring more cultural vibrancy and interest to a place, but ensure that everyone has the opportunity to experience art in their everyday lives.” The mural took Nichols 10 days to complete.

A Walk Through Time was funded through the City of Tigard’s Lighter, Quicker, Cheaper (LQC) program.  LQC projects are inexpensive but impactful actions that improve walkability, connectivity and health in Tigard.

Final Mural by Jeremy Nichols

Final Mural by Jeremy Nichols

All Photos © Portland Street Art Alliance @ Paul Landeros

IN THE NEWS!

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Produce Row Mural

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In the fall of 2018, Portland Street Art Alliance (PSAA) was approached by Harsch Investments Properties. Harsch had recently purchased the old Coast Auto Supply building at SE 2nd & Stark in Portland’s Central Eastside Industrial District (CEID). Located at 125 SE Stark St, this site has a long and colorful past, being in the heart of the city’s Produce Row for the past 83 years, and a popular space for graffiti art over the past decade. With Harsch’s support, PSAA hired a team of four lead artists from the MLS (Nimby, Zae, Ckos, Ouch, Ugh, Raskoe, Senik, Elboe) and 4SK crews (Giver, Nekon, Abnr, Fiber) in Portland to coordinate a massive dual-mural, wrapping around most of the warehouse along Stark, 2nd, and Oak Streets.

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The Produce Row Mural

PSAA wanted to ensure that local artists would still have access to the walls, so two teams of long-time Portland-based graffiti artists were hired to produce a design that was inspired by the history of the district, but with a fresh new twist to the traditional history murals. Digging through archive records, the team landed on a simple concept - massive piles of Willamette Valley fruits and vegetables. The team wanted to experiment with showcasing both sides of their artistic abilities; a concept that is very rarely seen. The final composition blended painterly techniques with their unique text-based graffiti lettering. This experiment manifested itself in overlaid wild-style graffiti lettering, keeping to the colors of the background imagery.

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The mural painting took three months to complete, as the work had to be done incrementally due to Portland’s wet fall and winter weather. Most of the underlying base coats were done with bucket paint and rollers, and then the muralists added details with aerosol and brush paint.

Photo: Chris Christian

Photo: Chris Christian

Photo: Chris Christian

Photo: Chris Christian

PSAA is working with several Central Eastside property owners trying to ensure that art remains an integral part of the district’s identity. As the city and the district quickly changes beyond our collective control, we want to ensure that long time local graffiti culture is still part of the urban landscape.

PSAA is dedicated to creating inclusive models for place and district-making by engaging diverse audiences and artists, and increasing access to public art opportunities such as this, while helping to support local and regional artists.

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Produce Row History

In 1913 Italian immigrants began establishing truck farms that supplied fruit and vegetable wholesalers in a bustling new riverside industrial district that became to be known as “Produce Row.” At the heart of this historic industrial area, are two parallel loading dock streets - 2nd & 3rd Avenues. These thoroughfares transect three viaducts - the Hawthorne Bridge, Morrison Bridge, and Burnside Bridge pass overhead creating deep cavern-like spaces cutting through the Central Eastside. In 1981 it was officially declared in as an ‘industrial sanctuary’ an effort to maintain its unique land use and character. Warehouses and storage facilities were a significant part of the district’s beginnings, and the area provided a variety of blue-collar jobs (Jones, 2014).

Today, SE 2nd and 3rd Avenues still rumble with heavy trucking activity, but the industrial uses have changed, with cleaner and lighter wholesalers, and an increasing number of exclusive commercial services, including fine dining restaurants, multi-media production, as well as high-end retail have begun moving into the CEID (Jones, 2014). This is juxtapose to Portland’s booming creative, tech, and service industry, which is closing in on this historic industrial sanctuary. The infamous DIY Burnside Skatepark lies just a few blocks north on SE 2nd Avenue, nestled underneath the Burnside Bridgehead surrounded by sparkling modern towers.

SE Alder St between 3rd and Union Avenues in 1940. The building on the left would later become Corno’s Market (City of Portland Archives)

SE Alder St between 3rd and Union Avenues in 1940. The building on the left would later become Corno’s Market (City of Portland Archives)

SE 3rd Avenue and SE Alder Street in 1950 (City of Portland Archives)

SE 3rd Avenue and SE Alder Street in 1950 (City of Portland Archives)

SE 3rd Avenue in 2018 (Portland Street Art Alliance)

SE 3rd Avenue in 2018 (Portland Street Art Alliance)

Produce Row used to be the home to dozens of produce warehouses, some of which are still in operation today. Family-owned Rinella Produce at 231 SE Alder St opened in 1914. The Rinella and Lombardo families immigrated from Sicily and Rome to the US. The business has been passed down from father to his son and is one of the oldest produce distribution buildings on the West Coast of the US.

Rinella Produce

Rinella Produce

Frank and David Rinella (Rinella Produce)

Frank and David Rinella (Rinella Produce)

Over the past three or four decades, Produce Row has nurtured newer generations of produce distributors. Pacific Coast Fruit Company at 201 NE 2nd Ave is another produce company that still exists on Produce Row. Pacific Coast was founded in 1977 by Emil Nemarnik. Today they have become one of the largest, independent produce distributors in the Northwest.

Pacific Coast Groundbreaking (Pacific Coast Fruit Company)

Pacific Coast Groundbreaking (Pacific Coast Fruit Company)

Alexis Foods at the corner of SE Stark and 2nd was established by Alexis Bakouros in 1987 after operating a successful Greek restaurant. Using his European contacts, Alexis was able to import high quality specialty foods from Greece, Spain, Italy and France. As the local market evolved and vendors emerged, Alexis Foods' product line expanded to also source crafted, locally sustainable products.

Even though Produce Row continues to thrive as a distribution hub, many of these warehouses and distributors are now gone, including the Independent Fruit and Produce Company pictured below. In the summer of 2017, Alexis Foods partnered with Portland Street Art Alliance to produce two murals by local artists, one of which depicts a series of Greek-style vases.

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Independent Fruit & Produce Co. at 705 SE MLK in 1932 (City of Portland Archives)

Independent Fruit & Produce Co. at 705 SE MLK in 1932 (City of Portland Archives)

Another lost landmark was the Corno family-owned produce market. Corno’s opened in 1951 and was a very popular and well-loved market in Portland. It closed its doors in 1995, and was torn down in 2006 to make way for a pipe project which runs under 3rd Ave now.

Corno Market (City of Portland Archives)

Corno Market (City of Portland Archives)

Today, the Sheridan Fruit Company at 409 SE MLK Blvd is the last of Portland’s ‘old-school’ produce markets. In 1916, John Sheridan started an open-air produce market on Union Avenue (now MLK Blvd). In 1946, the Poleo Brothers, whose family still owns and operates The Sheridan Fruit Company today, purchased the company and began a wholesale operation in 1950. 

Sheridan Fruit Company at 333 SE Alder St (Public Works Administration Archives)

Sheridan Fruit Company at 333 SE Alder St (Public Works Administration Archives)

Sheridan Fruit Company

Sheridan Fruit Company

Sheridan Fruit Company

Sheridan Fruit Company

Another Pacific Fruit & Produce Co. Building at SE 2nd & Alder, 1935 (City of Portland Archives)

Another Pacific Fruit & Produce Co. Building at SE 2nd & Alder, 1935 (City of Portland Archives)

The History of 125 SE Stark

Built in 1936, the building at 125 SE Stark St was originally home to Pacific Fruit and Produce, built and owned by the Portland Terminal Investment Company. Sometime in the 1980s it was purchased by Coast Auto Supply, which operated an auto supply business out of it until 2017 when it was acquired by Harsch.

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Legal Walls Research Project

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In 2012, PSAA was founded as an advocacy group. Our friends were being pressured and harassed by the police for making art in the street, even when they had permission from owners. Art shows and galleries that supported street and graffiti art were being shut down. Since then, PSAA has been working behind-the-scenes to help advocate for this form of art and shape the future of street and graffiti art in Portland by advocating for new City policies.

From January to June 2019, PSAA worked in a collaboration with Portland State University’s Nohad A. Toulan School of Urban Studies & Planning to develop a Legal Walls proposal to go before the Portland Council for city-wide approval in August 2019. PSAA was one of a few organizations selected (including the City of Portland Bureau of Transportation, the City of Vancouver, the City of Monroe, and the Cathedral Park Neighborhood Association) by the School’s Master of Urban & Regional Planning Workshop Project students to participate in this initiative.

Working closely with PSAA, a team of students crafted a proposal to advance the City’s policies surrounding street murals and public art for the collective empowerment of Portland’s street artist community, drawing on street art best practices and case studies from around the world. The proposal combines research, original data collection, and analysis to present policy alternatives allowing Portland to better leverage its thriving street arts culture and solidify the City’s identity as a haven for creatives.

By listening to stories from artists and free wall organizers from around the world, and working with policymakers, property owners, and other stakeholders, this team developed recommendations supporting street art’s potential to achieve City-wide district revitalization goals and use art as a means to include the voices and perspectives of historically marginalized communities.

On August 7th, 2019, PSAA, graduates from the PSU research team (Brittany Quale and Joey Williams), and a young emerging local artist (Qwyinn), presented the research findings and provided testimony to Portland City Council. Commissioner Chloe Eudaly expressed appreciation for the Legal Walls PDX proposal and affirmed her willingness to support the project. In response to the presentation, Mayor Ted Wheeler asked PSAA to identify a site, draft a community agreement, and craft a proposal for a pilot legal wall program before returning to the Council for approval.

On October 16th, 2019, PSAA, Quale, and Qwyinn met with Eudaly’s Arts & Culture Policy Director, Pollyanne Faith Birge, to strategize next steps towards realizing a legal wall in Portland. Over the next several months, PSAA and supporters of Legal Walls PDX will be meeting with property owners, the Central Eastside Industrial Council, and City representatives from the Bureau of Planning & Sustainability, Bureau of Development Services, Civic Life, and Parks & Recreation to discuss potential avenues for implementation.

Portland City Council Presentation on August 7, 2019

To receive updates on the efforts to implement a pilot Legal Walls program in Portland, join the PSAA community list for notifications about upcoming related events.

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LEARN MORE

Logo Design by @Rupeezy

Design Week Portland

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On April 10th, 2019, PSAA participated in a Design Week Portland panel discussion and non-profit fundraiser, organized by Killian Pacific and held at Clay Creative (the site of our recent Taylor Electric Project). The panel was moderated by Ann Hudner, an Art Consultant + Communications Strategist based in Portland, OR. Panelists included Adam Tyler, President of Killian Pacific, Tiffany Conklin & Tomás Valladares, Founders of the Portland Street Art Alliance, Kristin Calhoun, the Director of Public Art at the Regional Arts and Culture Council, Chris Herring, the Founder Portland Winter Light Festival, artists Alex Chiu, Lane Walkup, and Joe Thurston. The event also featured interactive art pieces, including a diatom-inspired LED interactive lantern show by Tor Clausen, hyperreal arrangements by Manu Torres, metallic dreams by Lane Walkup, and live mural painting by Alex Chiu, with assistance from several local Portland-based artists including HeySus, May Cat, and Vincent Kukua.

Panel Topic: Has the definition of public art expanded?

Our built environment is a canvas for artistic expression providing opportunities for artists that extend beyond the confines of gallery walls. How can we advocate for and broaden not only the understanding of public art, but the city’s expansive creative capacity and its potential to impact the cultural vibrancy of Portland? As individual property owners, real estate developers, government entities, community members and civic leaders incorporate the artistic community as active participants in a dynamic city, what is the role of public discourse and community engagement?

In this changing landscape where urban planning, business objectives and artistic expression intersect, what are the challenges and opportunities for meaningful change? How does one interpret beauty, cultural aesthetics and new art forms in public spaces? How do we celebrate the public art that currently exists or the experimental spaces and communities that are emerging? Where are the crossroads for public/private and city-wide collaboration?

Huge thank you to our friends at Killian Pacific for hosting this event. Thank you to the beverage sponsors: Union Wine Co., Dirty Pretty Brewing & Brew Dr. Kombucha.

YAE Camp

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YAE Camp was a partnership between several female-directed nonprofits and collectives. YAE! summer camp for young girls was an immersive experience designed to build confidence and empowerment for female identifying youth inside of typically male dominated artistic spaces. YAE! provides mentorship for female/femme/non-binary youth ages 12 to 17 years old. Participants came from diverse, historically marginalized communities, and under-served low-income homes in Portland are given top priority in the scholarship program. Students came from all different levels of technique and experience in visual art and dance. By the end of YAE!, campers learned the basics of aerosol painting and safety, and will have completed a large-scale permanent mural in SE Portland. Campers also showcased a dance they have helped choreograph and participate in a freestyle/cypher/jam session with local female dance artists.

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Midnite Special

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Event Review by Loudres Jimenez

December 15, 2018 was a night to remember as Portland saw a fresh take on an exhibition, one that bring attention to the reformation and dismantling of the prison industrial complex. Jesse Hazelip - Midnite Special was held at a new art space on Failing Street, just off North Mississippi called Tips on Failing. Curated by Gage Hamilton, a renowned artist and Co-Curator and Director of Portland’s mural festival, Forest for The Trees.

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Midnight Special brings Jesse Hazelip's new solo work alongside performances and collaboration with multidisciplinary artist Ginger Dunnill, lifelong friend and tattoo artist James Allison, visual artist and poet Demian Dine Yazhi, and indigo child rapper Rasheed Jamal. Each artist brought a unique voice to the show, luring audiences to submerge themselves in the essence and meaning of the artwork.

The moment you walked in, you are instantly greeted by hanging ropes made of bed sheets and the gripping sounds of ripping and tearing cloth.

"Ginger Dunnill for Mother Tongue creates a site-specific sound and fiber installation to the loving memory of all the young people of color across Amerikkka who continue to take their own lives because of the mental and physical trauma of being incarcerated" (Hazelip, 2018).

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As you pass through; the ropes attached to the ceiling, hang close to the floor, leading your eye down to scattered poems, two inmate jumpsuits spread out with ropes beside them, and a sign that reads, "Rest in Peace;" instantly set the tone. The poems beautifully created by Demian Dine Yazhi, work "in an action that will embody the intention of Mother Tongue and amplify the Queer and Indigenous experience in relationship to the prison industrial complex and suicide" (Hazelip, 2018).

            Walking further in, you encounter a site-specific instillation structure built to the size of solitary confinement cells in the U.S. prison system. This space creates the stage for Hazelip's live protest alongside tattoo artist, James Allison. As Hazelip sits, with his arms around his knees on the floor, sitting above him is Allison who is using a makeshift tattoo gun to tattoo a rose with a stem of rope. Intertwining with Dunill's instillation to memorialize those who have committed suicide due to incarceration. The fluorescent light shining on them, gave a sterilized glow to the room; which contrasted the white walls and grey concrete. Hazelip and Allison, collaborated together on this exhibition while Allison was still incarcerated. Both Hazelip and Allison embody true authenticity and commitment to the art and the cause.

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The walls showcased Hazelip’s new series, Trinity War. Hazelip interweaves three narratives: The Eternal War (the past, present, and possible future of the United States), the War on Drugs (aka people of color), and the War of Colonization (gentrification). These pieces highlighted the cause and effect of the prison industrial complex and the lives it takes. Hazelip's unique style of using fine-line ballpoint pen on paper include images of the Reaper, Bellum Se Ipsum Alet (Latin for, The War Will Feed Itself), and Coyotl. Some pieces from this series can also be seen on the streets of Portland, as wheatpasted installations.

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When asked about the meaning behind his usage of three animals in his work – a wolf, bull, and vulture – Hazelip stated that when wolves are in a pack they survive, when separated and in solitude, they lose their mind. We are tribal beings. The bull is a reference to people being like cattle, with each piece already planned to cut apart. Christo, 53” x 29” (mixed media on wood) is about the “sacrifice involved in our judicial system. Our punitive approach to incarceration has been proven to be ineffective and counterproductive to the ‘sinners’. I used the back of a frame and carved out spaces for things a prisoner might want to smuggle in and hide. Blades for protection, keys for release, pictures of loved ones for comfort and an ink impression from a newborn’s feet for those mothers and fathers who can’t touch their children” (Hazelip, 2016). The hooded vulture is a reference to the situation of corruption in Rikers Island in New York.

The piece Big Skull was created out of a carved bull’s skull. The piece displays names of multiple prisons in New York City and upstate New York. “The private prison industry deals and trades prisoners as if they were livestock” (Hazelip, 2017). Each piece in his series contains personal and intimate details of an incarcerated experience, helping to heal a wound that exists in society.

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Closing the show, a live performance by Rasheed Jamal gave the audience a sample of his new album entitled 22 Grams (iAMTHATiAM), which testifies to the experience of a young black male in modern day America, given from the perspective of a disembodied ‘Soul’—the main protagonist in the narrative” (Hazelip, 2018). Lyrics like, “land of the free, but I’m just another prisoner, working 9 to 5, man, it shouldn’t be so difficult” provide introspective truth and a soundtrack to the struggle of the cause (Jamal, 2018).

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This deep and well thought-out exhibit curation and artist collaboration, highlights the overlapping interests of government and industry - feeding off of stereotypes of oppressed communities (people of color, the homeless, mentally ill, etc.), categorizing them as delinquents and a danger to society. Through this process, huge profits are generated by private companies, while at the same time acting to further marginalize the communities of those who are incarcerated. Due to the continuation of "tough on crime" propaganda in American culture, the larger civilian population has been tricked into believing that imprisonment is the solution to solving our social problems. As Angela Davis wrote in her essay, Masked Racism: Reflections on the Prison Industrial Complex, "prisons do not disappear problems, they disappear human beings" (Davis, 1998). Midnite Special shows that our correctional institutions have turned into a “slaughter house for profit,” and we are the cattle. We look forward to each artist’s endeavors and support their courage to stand for what is right.

 

Citations:

Davis, A. (1998). Masked Racism: Reflections on the Prison Industrial Complex | Colorlines. [online] Colorlines. Available at: https://www.colorlines.com/articles/masked-racism-reflections-prison-industrial-complex [Accessed 24 Dec. 2018].

Hazelip, J., Personal communications, December 15, 2018.

Hazelip, J. (2016, August 3), “Christo”, 53x29”, Mixed media on wood. https://www.instagram.com/jessehazelip/.

Hazelip, J. (2017, June 23), “North (Big Skull)” Carved Bull skull. https://www.instagram.com/p/BVsijzcFene/

Jamal, R, Live performance, December 15, 2018.

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Sow Radical Seeds

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Introducing PSAA’s newest mural, Sow Radical Seeds, at the Montavilla Farmers Market (7700 SE Stark St). This mural was designed and painted by an all-female team of artists: Girl Mobb, Sara Eileen, and Portland's own N.O. Bonzo. It depicts two strong women, sowing the seeds of radical community-driven change, nurturing a more sustainable world where communities have food security, food sovereignty, and equitable access to healthy nutritious foods. It took the artists 3 full days to complete the mural. It is the perfect backdrop to the weekly farmer’s market. PSAA has been working with Montavilla neighborhood residents and hoping to secure more walls for art in the near future.

The mural came into existence thanks to efforts by the Montavilla Neighborhood Association and PSAA. Working together in just one week they secured community-supported funding, an artist team, and a city mural permit.

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PSAA, the Montavilla Neighborhood Association, and Montavilla Farmers Market officially introduced the mural to the neighborhood by hosting a community meeting where artists, organizers, and farmers came together to talk about how they sow radical seeds in the community with the work they do.

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At the meeting, Javier Lara of Anahuac Produce spoke about his work as a farmer, community leader and activist for human rights. His philosophy on farming stems from a deep connection to nature, and his practice mimics those beliefs. Javier says farming is “more than just local or organic, it has to do with community, and human beings are part of this system.” Javier also fights for farmworkers’ rights as well by working in partnership with PCUN-Pineros y Campesinos Unidos del Noroeste (Northwest Treeplanters and Farmworkers United). PCUN is Oregon’s farmworkers union and the largest Latino organization in the state.

Lily Matlock of Lil' Starts also spoke at the meeting about her 2-acre urban farm located in the East Columbia neighborhood of NE Portland. Lil’ Starts uses permaculture and biodynamic principles to grow clean, healthy produce and robust productive plant starts for local farmers markets, restaurants, and their two CSA programs.

This mural and community meeting was an opportunity to meet people who are sowing radical seeds in Montavilla, and soak up some inspiration for your own community good works! 

Please consider donating to this project, to show your support for the artists time and creativity! So far we have raised just enough to cover supplies and the city mural permit, but we also want to try to compensate the artists for some of their donated time:  https://www.gofundme.com/sow-radical-seeds-mural

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Taylor Electric Project

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The Taylor Electric Project at the Electric Blocks, is a collaborative, open-air street art gallery that features the work of over 100 artists. For over a decade, the ruins of the Taylor Electrical Supply Company, located on 240 SE Clay St., became a Portland nexus of local, regional, and national graffiti and street art following a fire that left only the burnt-out husk of walls, a perfect canvas for street art within Portland’s ever-changing Central Eastside District. In 2015, what remained of the building was demolished but with the support of Killian Pacific, Portland Street Art Alliance is collectively rebuilding the Taylor Electric Project into a haven for street art once again. Portland Street Art Alliance manages the painting at Taylor Electric and in 2018 co-hosted an all-day all-ages event with the help of For the Love that includes live-paintings, artist commissions, live music, a dance battle, local pop-ups, food carts, local beer, skateboarding ramps, and more. Thousands of people come out to celebrate Portland’s vibrant public art communities. The annual block party is truly a DIY community-centered and driven event, made possible with the support from local sponsors, volunteers, and artists. 

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2018 Block Party Recap

BLOCK PARTY NEWS COVERAGE

 

HISTORY OF TAYLOR ELECTRIC

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For over a decade, the burnt-out ruins at SE 2nd and Clay served as Portland's most famous space for graffiti– a free open art gallery that attracted artists and onlooks from near and far.  

Built in 1936 by the Loggers & Lumberman’s Investment Company, the warehouse at 240 SE Clay (previously 352 E Clay St) served as a home to many different businesses through its lifetime at its picturesque location at the east-end of the Central Eastside Industrial District. In the 1990s, the Rexel Taylor Electrical Supply Company purchased the building and used it as a storefront and warehouse for electrical supplies.

On the night of May 17, 2006, a stack of pallets outside the building caught fire. Fueled by the electrical supplies inside, a massive 4-alarm fire broke out. Over 125 fire-fighters from Portland and nearby cities worked around the clock trying to extinguish the blaze and protect nearby buildings. Burning for over 24 hours, the fire sent a river of debris into the nearby Willamette River.

Taylor Electric Fire on May 17th, 2006. Images courtesy of Greg Muhr (@911firephotg).

Taylor Electrical Supply had plans to rebuild and sell the property, but that fell through, so the charred skeleton of the warehouse sat abandoned for over a decade. The ruins blossomed into a unique and iconic local landmark - a sanctuary for artists, rebels, and outcasts. When people visited Portland and wanted to see graffiti, Taylor Electric was an obvious and easily accessible destination. Cultural activities from dances, circuses, and bicycle chariot wars used Taylor Electric as a gritty stage and backdrop.

In many booming west coast cities, space for unanticipated interactions and unauthorized art are rapidly diminishing. However, these derelict spaces serve important functions for many creatives. Artists are often some of the first to find, occupy, and re-use dilapidated spaces. These cracks of the urban fabric fall outside the watchful eye of neighbors and police.

There is an inherent uncertainty and unpredictability of abandoned spaces where graffiti often gravitates. These spaces often provide the raw material conditions that incubated new ways of expression and imaginative thinking. Graffiti’s ephemeral and nomadic nature contributes to its resiliency and allure. For these reasons, the aesthetics of Taylor Electric were addictive for many, including artists, tourists, academics, journalists, photographers, and videographers. Geographer Bradley Garrett wrote: “These spaces are appreciated for their aesthetic qualities, for their possibilities for temporarily escaping the rush of the surrounding urban environment and their ability to hint at what the future might look like, when all people have disappeared, a visceral reminder of our own mortality.”

Taylor Electric Inspired Artwork by Brin Levinson.

Taylor Electric Inspired Artwork by Jessica Hess.

Rumors of demolition and redevelopment plans of Taylor Electric had been circulating for years. With Portland’s booming economy and population this change was inevitable. As power and urban space collide, developers inevitably would redevelop this centrally located property. A family-owned local development company, Killian Pacific eventually purchased the property intending to develop it into a new office campus called the Electric Blocks. Thankfully, Killian Pacific appreciated the cultural history and raw beauty of the space and decided to preserve and reinforce part of the old south-facing retaining wall, incorporating it into the new building.

In the months leading up to its demise, the art at Taylor Electric flourished as the fences went down and security was reduced. More so than ever people of all types, young and old, high heels and rubber boots, descended on this public place to experience a post-apocalyptic scene bursting with color.

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On May 10th, 2015 the demolition of Taylor Electric began. Spreading quickly through social media, artists shared images of the first walls to fall. Some onlookers talked with workers, gathering details of the plans. Local media outlets covered the demolition, focusing on the cultural importance and impact of this space.

While a sense of loss pervaded, there was also a sense of unity and reflection that arose, as many people began to introspectively think about what was being lost, but also what had been built over the years in this space. During this time, the Portland Street Art Alliance (PSAA), a local arts non-profit that advocates for and manages street art projects in the pacific northwest, started pitching the ideas of hosting a gallery art show in commemoration of the old space. Donations immediately started coming in from community members and businesses. PSAA connected with Killian Pacific and the main tenant of the building, Simple Bank. From these new partnerships, a new idea was born – bring graffiti art back to the site, but this time, provide artists time, structure, and funding to really make a huge splash. The collective aim was to honor and continue the history of this unique art sanctuary. To create a new rotating public art gallery displaying fresh works from pacific-northwest and visiting artists.

Since 2017, the Taylor Electric Project  has been managed by PSAA with support of Killian Pacific and local businesses. Over 150 regional artists have painted murals at the site, completely covering the underground garage and old remaining walls of the warehouse. Fresh artwork is happening all the time.

On July 21st, 2018, PSAA organized a team of Portland-based artist collectives to co-host a huge block party. Over 2,000 people came to celebrate the completion of the new murals. The block party had live painting by over 20 artists, live bands, a dance battle organized by Find a Way, a pop-up skate park erected by D-Block, kids activities, a food and beer garden, and an art fair in the garage where local artists sold merchandise and did live screen printing.

Portland Street Art Alliance plans to host the block party event again, bringing together artists from around the Pacific Northwest to celebrate and further seed art in the new Central Eastside Mural District and beyond.

READ MORE ABOUT TAYLOR ELECTRIC

INTERIOR MURALS AT THE ELECTRIC BLOCKS

Working in partnership with Killian Pacific and Simple Bank, PSAA has managed several interior office mural at Clay Creative, with plans for more. The aim is to provide local artists access to commission opportunities, and provide workers with an inspiring everyday environment to be in, in the heart of Portland’s Central Eastside Industrial District. 

THE NOVA GARAGE

In 2017, PSAA began organizing rotating painting inside the parking garage at Nova. All garage murals are done on a volunteer basis by both PSAA and participating artists. These walls provide much needed space to build portfolios, experiment with new designs, and painting techniques. The garage has become a true community space, an ever-changing art gallery, and space for gathering and activation.

© All photos copyright of credited owner. Do not use without permission. 

Cover image by Crystal Amaya. All rights reserved.

Sponsors & Partners

The Central Eastside Mural District is funded, in part, by the Regional Arts & Culture Council, Prosper Portland, the Oregon Arts Commission, and the Central Eastside Industrial Council’s Central Eastside Together grant program.

Keep on the Sunnyside

KEEP ON THE SUNNYSIDE

PORTLAND, OREGON

KEEP ON THE SUNNYSIDE MURAL

With extensive research and community outreach, PSAA worked with local street artist Maddo Hues (@yomaddo) to design this 100-foot mural that represents significant elements of the Sunnyside neighborhood's past and present. The project was sponsored by @seuplift and community donations. PSAA donated all of our management time, along with countless volunteers from the community who helped us prep the wall, deliver flyers and send emails. We hope that this mural serves as a platform for exploring Sunnyside's rich and vibrant history and a daily reminder that no matter how grey it might be, to always try to keep on the sunny side of life!

THE PLACES + THINGS OF SUNNYSIDE

EARLY SE PORTLAND HISTORY

The Portland metro area rests on traditional village sites of the Multnomah, Kathlamet,Clackamas, Chinook, Tualatin Kalapuya, Molalla and many other Native American tribes.They created communities and summer encampments along the Columbia and Willamette Rivers and harvested and used the plentiful natural resources of the area for thousands of years. The first white settler in the area, in the late 1820s, was a French Canadian fur trapper named Etienne Lucier. At the time Lucier arrived in East Portland, it was "heavily timbered with a thick undergrowth of laurel and fern." He built a cabin just south of where Hawthorne St is now. The cabin was later occupied by an employee of the Hudson's Bay Company, which was held in trust by John McLoughlin. In 1845, McLoughlin sold the land to James & Elizabeth Stephens. Mr. Stephens was a cooper and ferryman by trade. The original cabin is gone, but the Stephen's house still stands at the corner of SE 12th & Stephens St, and is the oldest structure in SE Portland. Despite the marshy conditions down by the Willamette River, Stephens started ferrying pioneers across the river to downtown Portland around 1861.

In early years Sunnyside was full of farms and fur trappers.

During the first three decades (1860s-1880s), East Portland was mainly occupied by fur trapper cabins and small family farms.The area Sunnyside encompasses today was settled on a portion of the Seldon Murrary land claim. A United States Land Patent, signed by President Andrew Jackson on March 19, 1866, was issued to Seldon and Hiantha Murray. They farmed the land for six years, then started to sell it off in portions for $10 an acre. Sunnyside and Lone Fir Cementary are part of the original Murray land claim.

HISTORIC HOUSES

The Thaddeus Fisher House

In 1888, Thaddeus “Thad” F. Fisher and his wife Phoebe escaped the city and built a house just off Belmont at the edge of the city. Thad was a prominent Woodsmen of the World, a man of earnest endeavor who bore the respect of all who knew him (Multnomah County Archives). The house was built in the high style of Queen Anne, popular during the late 1800s. They planted plum and apple trees which still stand to this day. Highly ornamental in design, the house included intricate woodwork, intersecting cross gables, a 3-story tower, and a steeply pitched irregular roof. A large veranda coils around half the main house. Set back and slightly higher than the street, the ‘life’ of the house is thrust upward into the sky, establishing a sense of continuity between the house and the surrounding overgrown setting. On almost a daily basis, people take pause on the sidewalk looking at the house, pointing, talking, and sometimes asking questions. Old neighborhood residents often stop by to reminisce and tell tales of the house’s past. 

The Fishers were a well-off couple. Thad was a sea merchant during a time when Portland was becoming a key hub for shipping in the west. This house would have surely been a bold statement, a symbol of their class standing. During this time, the production of new inhabitable space on Portland’s Eastside was just beginning. Flight from the discords wrought by the industrial machine age was an achievement mostly possible for those who were wealthy enough to move. The elite were on a quest to escape the grimy city and reconnect to the natural world, enjoy sunlight, fresh air, greenery, and open space. SE Portland would have been a very different type of place to live in the late 1800s. The majority of the roads were still dirt and gravel, which turned to mud during the rainy months (Portland Paving Map). Horses and kerosene lamps were everyday objects, as electricity and automobiles were bourgeoning ideas. The Fishers, and their neighbors, were urban pioneers settling in and taming this new environment. There would have been an enthusiasm brewing in the Sunnyside neighborhood, because the very same year the Fishers built their home, the Mt. Tabor streetcar line began, extending from the river to 34th and Belmont. 

The Fishers did not have any children. Thad passed away in 1904 and was buried down the avenue at Lone Fir Cemetery. His wake was held at his home. A few years after Thad passed away Pheobe remarried a man that was boarding in the house for many years, Edgar Allen. The house remained in the Fisher family until 1935 when Phoebe sold it. Interestingly, Edgar is buried right next to Thaddeus in Lone Fir Cemetery, along with his son, but Phoebe lies in an unmarked grave in-between her two husbands.

In the 1930s the home was temporarily converted to eight units during World War II (National Register). Portland’s mushrooming defense industries led to a housing crisis. This epic migration consisted of factory workers, soldiers and their families. Measures were taken to build worker housing, but the demand could not be met, so thousands of single-family houses were converted to accommodate multiple families. Even though the Fisher house is large, it would have been tight quarters. Residents would have shared bathrooms and kitchens. Many would have most likely viewed this home as temporary as they hoped the war would be. 

After the war, the house was converted back to accommodate a single-family and the in the 1960s, it was rehabilitated and turned into three apartments by local preservation legends, Jerry Bosco and Ben Milligan (founders of the Architectural Heritage Center). In the early 1970s, when I-405 was under construction, they were alarmed by the tragic demolition of historic buildings throughout the region and salvaged countless architectural pieces. Over several decades, they collected a trove of ornate building elements, some of which were used in the restoration of the Fisher House and the neighboring J.C. Havely House. Dedicated to saving pieces of Portland history, Ben and Jerry worked extraordinarily hard restoring the original siding, repairing and replacing the shingle work, windows, doors, and woodwork. 

On the left, Fisher House, on the right Buttertoes

J.C. HAVELY HOUSE

The charming Buttertoes Restaurant was open for a decade in the J.C. Havely House at 3244 SE Belmont. It opened in December of 1979 and closed in 1989. Owned and operated by three sisters who grew up in Portland – Carolyn, Charmon, and Cherous. Their grandmother was an early SE Portland pioneer who, in the early 1900s, lived in a house near a creek at 14th & Salmon in the Brooklyn neighborhood. This early pioneer house is still owned by the family. It was brought on horse-drawn trailer and moved to its resting place at SE 26th and Lincoln. Their grandmother worked downtown, as a bookkeeper for Singer sewing machines. She would take the trolley to 21st & Powell (the end of the line) and walk home from there. Their great uncle owned a sewing machine store on Powell Blvd for over 50 years.

The three sisters always loved cooking. When they opened Buttertoes, Carolyn, the oldest, had just finished her physiology degree at college at Warner Pacific College, and was looking for something to do. On a rainy Independence Day, the sisters were sitting around a fire, and started talking about running a restaurant. And that was that, they started a business!

When they started looking for a location for their new restaurant venture, their friend Jerry Bosco offered them the bottom floor of the Havely House on Belmont. The Havely House was built in 1893 by J.C. Havely, a railroad tycoon. Caroyln was told by a customer that the house once hosted SE Portland suffragette meetings in the late 1880s/early 1900s.

Buttertoes Restaurant famous Mermaid Painting, by David Delamare.

Perhaps the most lasting tale from Buttertoes was those spurred by the Ghost of Aunt Lydia. A friendly ghost, with a high-collared dress, black shoes, and her hair pinned up. Lydia would move things in the kitchen around and rearrange the table settings. The cook and manager once saw a woman go into the back room (which had no exit) and when they went back there to see who it was, no one there. One of the waitresses finally quit because they felt so uncomfortable, and Carolyn and the sisters didn’t like going there by themselves. The tenets who lived upstairs in the rental apartment also reported strange things, like rocking chairs moving without anyone in them, and strange dreams. A psychic finally came into the restaurant and did a reading, and confirmed a spirit was present. These stories live on today in the Pied Cow, as it seems that Lydia still haunts the old house.

EXPLORE THE MURAL

MAIN STREET

EARLY LAND USE

HISTORIC BUILDINGS

PIECES OF SUNNYSIDE

SHARING IN SUNNYSIDE

COMMUNITY GARDEN

SACRED SPACES

BELMONT FIRE STATION

THE PEOPLE OF SUNNYSIDE

Just a few people who built and shaped Sunnyside neighborhood

The first panel shows the many people of Sunnyside. From L to R John McLoughlin of the Hudson Bay Co, Jenny Joyce the original Belmont mural painter, Bertha Greene owner of Conrad Greene Grocery, Georgia the Yellow Lab, Sculptor Jim Gion, The Avalon Theater Clown, Mike Clark, founder of Movie Madness, the Alien and Girl with Headphone from the original Belmont Mural, Bill “Sharpie Bandit” who helped paint the original Belmont Mural, A man and his dog from the original mural, Founder of the Horse Brass Pub, Don Yonger, Jimmy Chen, owner of the Pied Cow Diner, and Bloodgood family baker.

The second panel features former residents Ben + Jenny riding next to the trolly through Sunnyside.

PEOPLE AND PETS OF SUNNYSIDE

BEN + JERRY

JERRY BOSCO +
BEN MILLIGAN

Ben and Jerry saved some of Sunnyside’s most iconic buildings, painstakingly restoring Victorian-era homes in Sunnyside. With their massive collection of architectural pieces, Ben & Jerry founded the Bosco-Milligan Foundation Architectural Heritage Center in Portland

CAROLYN NEWSOM

Co-owner of whimsical Buttertoes Restaurant, which dished out legendary Portland food for over a decade (1979-1989) out of the HavelyHouse on Belmont. Read all about this fairy-tale like production, the hauntings of the house, and her lifelong friendship with neighbors Ben & Jerry.

DAVID DELAMARE

Artist and illustrator David Delamare lived at 41st and Hawthorne for many decades. An avid theatergoer and musician, his mystical illustrations had a signature and otherworldly style. He painted the fabled mermaid that hung in the dining room of Buttertoes. David, and his work, was widely beloved.

LEARN MORE

YAE Camp 2018 Re-Cap

2018 YAE Camp Re-Cap

In August 2018, Portland Street Art Alliance and WolfBird Dance hosted the first annual one-week summer camp for female-identifying youth ages 11-14. YAE! Young Artists Empowerment Camp was held at Clay Creative in the Central Eastside Industrial District of Portland. This program provides youth a platform to develop their artistic voices and find empowerment through art and dance. 

During the two-week camp, ten youth from diverse communities across Portland were provided street art and street dance training, accompanied by workshops to learn about the pillars of hip hop and the history and background of this culture: Graffiti (freedom of expression in public space), MC-ing (rhythmic poetry, aka rapping), DJ-ing (artfully blending melodies using a turntable), Breakdancing (a highly expressive style of street dancing), and Knowledge (skills and community building). We dove deep into the fundamentals of hip-hop dance, focusing on free-styling techniques, battling tactics, and how to learn and remember choreographed patterns. They also received lessons in letter-making, drawing, aerosol painting techniques, mural composition, and paint safety.

YAE! Camp provides young women a platform to feel empowered and become creative, productive, and confident members of our community. YAE! Camp offered instruction from an eclectic staff of dancers and artists to display diversity in all forms of artistic professionalism. We brought guest speakers throughout the week to talk about their art and other programs happening in Portland, also lead by women. With the culmination of this camp, students worked together to create a choreographed dance, participate in an all female dance battle, and collaborate on the development of four different murals (one of which is still on display to the public at 420 SE Clay St in Portland). Our students presented these performances and murals at our final YAE! Camp wrap party, closing out the program with an opportunity for our young artists to show off their new skills to friends, family, and the community.

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Draw

Daily black book sketch sessions help get creative energies flowing

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Talk

Daily guest speakers helping to teach, inspire, and build community

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Mix

Break out sessions with local DJs to learn the basics of turntable mixing

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In the mornings, camp participants were guided by mentors from WolfBird Dance to explore how freestyle and hip-hop can provide empowerment, healing, and comfort in one’s own body. With the support of five main dance camp mentors, we taught the fundamentals of different styles of hip hop such as Krump, Wacking, and popping. We also provided the tools and understanding of how to develop your own freestyle voice and what techniques to use in a battle, while simultaneously teaching the importance of how to learn and retain hip hop technique and choreography. On the final day of YAE! Camp, our ten campers performed their choreography and participated in a final all-female dance battle.

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Style

Learn the fundamentals of hip hop freestyle dance

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Jams

Coming together to develop new moves, encouraging each other to let loose

2018 YAE Camp | Dance Re-Cap

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The afternoon session was led by members of the Portland Street Art Alliance. Campers were guided through the entire process of creating a mural, including visualizing, sketching, and painting with aerosol and brush basic techniques. They were provided both one-on-one and group lessons with PSAA’s mentors. The final collaborative YAE! Camp Mural is on-display in the garage of Clay Creative, now a part of the larger Taylor Electric Project, a historic site in the Central Eastside of Portland that provides rotating wall space for local artists.

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Practice

Daily aerosol spray painting lessons from established local artists

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Collab

Learning to work together as a team to create something bigger

2018 YAE Camp | Art Re-Cap

 

Guest Artists + Speakers

Throughout YAE! Camp, we brought many local guest speakers to spend time with the students and share their art forms and life experiences. This provided an opportunity for the girls to communicate and interact with artists they look up to in a non lecture/authoritative setting. It was important for us to ensure that the girls felt like a part of our community and that they could speak to their role models in ways that would encourage seeing themselves in these artistic roles. This year, our guest speakers included:

• DeAngelo Raines (Art Not Crime), who spoke about the history of graffiti and hip hop culture.

• Local female street artists, Wokeface (@wokeface), All the Veg (@alltheveg), and Flowering Jane (@flowering_jane), who showed the girls their work and the wide range of styles that street art can embody.

• Local female DJ, Kaeli Hertz, who taught about mixing and turntable techniques as well as her experience in the industry.

• Ella Marra-Ketalaar, a Community Engagement Coordinator at the Regional Arts & Culture Council.

• Jesus Rodales (Find A Way), a local Portland dancer and activist encouraging cultural understanding of hip hop dance, who taught about the origins and history of street dance.

• Daisy Lim, a dancer from New Zealand, who taught the fundamentals of Krump and how to use creativity and imagination to be a storyteller with movement.

• Katie Janovec (The Aspire Project), a Portland based dancer who spoke about the fundamentals of popping.

• Bao Pham (ADAPT), another Portland based dancer who demonstrated the possibilities of movement by combining many styles of hip hop, creating her own unique movement vocabulary.

 
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On the final day of YAE! Camp, we encouraged a “show and share,” an opportunity for the girls to share something unique about them, and a time for us as mentors, to encourage the girls to use this individuality in their art. Many students shared from their black books (YAE! Camp provided sketch books, for the girls to keep and practice in) their drawing styles.

One student from Mongolia shared her new found passion for taking graffiti style lettering and transposing it onto Mongolian letters. Two other students taught us about traditional African and Mexican dance. They brought the oufits required for these dance styles and performed some of the dances for us. One student told us she now likes experimenting with incorporating traditional African dance moves into her freestyle practices.

Camp was extended by two hours to invite friends, family, and the community to come see what we created and learned together. Students performed a choreographed dance, showing off their new moves and training on how to collaborate, move through space and remember choreography. Their participation in an all-female dance battle, showed their knowledge of artistic choice in free-styling and freedom of expression through dance. We then presented their group murals. The teams presented why they chose their design, what it meant to them, and their favorite camp experiences. This event was not only an opportunity for our students to show their work, but also a chance for the community to see what we can be build when a safe space for learning and creativity is provided to young emerging artists.

 

Feedback + Testimonials

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The response and support of YAE! Camp from our students, parents, and community was unbelievably humbling. During the wrap party, students also had the opportunity to provide camp organizers feedback on the week's activities. A short anonymous survey was distributed to the youth. Eight of the nine girls ‘strongly agreed’ that they liked YAE Camp and would want to attend again, with one girl saying they ‘agreed’ and would 'maybe' come back. 

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2018 SPONSORS + DONORS

One of YAE! Camp’s main goals will always be providing affordable access to quality arts training. In its first year, we awarded seven 100% scholarships, one 75% scholarship, and one 50% scholarship. YAE Camp 2018 was partially funded by a seed grant from the Open Meadows Foundation. In addition to sponsoring 3 schalorship spots, Killian Pacific provided the use of vacant space in Clay Creative for the camp. Ike's Tug & Supply (@kobrapaint_ikestugandsupply) donated all of the spray paint.