Scroll 3: on Site 2 SCROLL 3 : on SITE 2016 Printed by Free, Inprintandonline

Scroll 3: On Site 2 SCROLL 3 : ON SITE 2016 Printed by free, inprintandonline. Contemporary andisavailable,for to themissionandeffortsofThe a differentculturaltopicrelated staff. Eachissueof and producedentirelybyitsintern published byTheContemporary All rightsreserved. contemporary.org Contemporary Museum, Inc. Copyright ©2016by Scroll isanannualpublication, Schmitz Press Scroll explores 2016 SCROLL 3 : ON SITE 3 Staff Scroll 3 Brandon Buckson is an artist from East Baltimore. He mentors youth in West Baltimore with the aim of inspiring hope and change through art. May Kim is finishing up her graphic design BFA at Maryland Institute College of Art (MICA). Allie Linn is an artist and writer in Baltimore. She co-runs Bb, an interdisciplinary project and gallery space in the Bromo Arts District. About Scroll 3: On Site

In the summer of 2015, The Contemporary moved its offices to 429 N. Eutaw Street, a building that holds a lot of history. The iconic Art Deco facade and black glass “Charles Fish & Sons” sign out front directly point to the building’s time as a department store, but less visible are the many other ventures it has held. Deliberate research into the space introduced us to the building’s surprising history as one of the nation’s first dental schools. Impromptu conversations with local residents informed us of countless other projects once housed inside: a clothing store, a church, a campaign office, a popup exhibition space, and a nightclub.

It felt important to know more about the space because such a defining part of The Contemporary is that it is a nomadic institution. It is meant to occupy various sites throughout the city for brief durations and site-specific projects rather than be permanently housed anywhere. Our research into 429 N. Eutaw Street became the first step of a much larger excavation, one that spanned sites throughout the city that have housed both arts- and non- arts-related projects. Space and vacancy and ownership are complicated. Who has access to certain spaces? Who decides which projects warrant having it? And, maybe most importantly, how can spaces be responsibly cultivated for arts endeavors?

While we understand that no single building can answer every question or provide a comprehensive history of Baltimore, we have found that each space provides great insight into the historical, economic, and cultural climate of the city at various times. All of the case studies investigated in this publication still stand today, though not all are active. Scroll 3: On Site provided us the opportunity to explore projects that have been defunct for decades as well as projects inaugurated in the past year.

Thank you to everyone who provided words, photographs, artifacts, and memories of the various projects included in this issue of Scroll. We hope that this publication will encourage both research into Baltimore’s active cultural landscape and exploration of the

4 SCROLL 3 : ON SITE 2016 ON SITE 2016 4 SCROLL 3 : many sites composing it. 20162016 SCROLLSCROLL 3 3: ON: ON SITE SITE 5 5 Allie Linn Deana Haggag Deana Haggag Brandon Buckson 2 E. Redwood Street 2 E. Redwood Street 120 W. North Avenue Avenue North 120 W. 118 N. Howard Street Street 118 N. Howard 823 E. Baltimore Street Street 823 E. Baltimore 1317 N. Charles Street 1317 N. Charles Street 1910 N. Charles Street 307 W. Baltimore Street Baltimore 307 W. 500 Block of Franklin Street Case Study #1 Case Study #1 Case Study #2 Case Study #3 Case Study #4 Case Study #5 Case Study #6 Case Study #7 Case Study #8 Sight Specifics Letter Director’s On History, Naming, and Archiving On History, Table of Contents of Table 6 11 17 23 29 33 41 47 53 62 67 6 SCROLL 3 : ON SITE 2016 eain o eid o wr n pltcl instability. political and war of periods to relation time passing andmemoryshifting,especially in Enwezor utilized“thecollection” toreference that canstillspeaktomore universalconcerns. focus onextremelypersonal andpoeticnarratives Simpson, andZoeLeonard, Enwezorwasableto including artistslikeFélixGonzález-Torres, Lorna through archives,whetheractualorimaginary. By reflect ondifferentmeansofcreatingnarratives films, photography, andcatalogueddocumentsto Center ofPhotography, OkwuiEnwezorpresented In the2008exhibition who createsfictitiouscontenttoinventnarratives. sources materialtocreatenewcontentorevenone beyond itstraditionaldefinitiontoincludeonewho blurred, theterm“archivist”beginstoextend artist, curator, andwriterbecomeincreasingly innovative, inthepresent.Asrolesbetween the past,especiallywhenitstillfeelsrelevant,even hypnotizing aboutstumblinguponaprojectfrom historical records,andthereissomethinginherently remained. Thearchiveprovidesanaccumulationof value oncollectingandstoringinformationhas and cataloguingmethods,butatitscore,the nebulous, encompassingawidevarietyofresearch The term“archive”itselfhasbecomerather observed inexhibitionsandbiennialsworldwide. working inthestudio,andacuratorialstrategy operating asatoolforresearch,methodof in thecontemporaryartworld,simultaneously Archiving hasbecomesomethingofanobsession Let thisworkfunctionasanarchive. Allie Linn On History, Naming, and Archiving Document in Contemporary Art Contemporary in Document Archive Fever: Uses of the the of Uses Fever: Archive attheInternational 2016 SCROLL 3 : ON SITE 7 , . As the blog that once Afro-American Newspapers Were it not for the Wayback it not for the Wayback Were 1 Art-Full Life , the Charm City Current at 319 Scholes focused on the internet at 319 Scholes focused Machine, it would be next to impossible to relocate Machine, it would be next to impossible poignant collection of art writing Doreen Bolger’s and criticism on her and the Maryland Historical Society provide and the Maryland Historical Society the city through invaluable access to the history of letters, and photographs, newspaper articles, the Internet projects like lectures. Larger-scale Machine, which strives to Wayback Archive’s the internet, archive every single webpage on can fill in the gaps sometimes multiple times a day, has been erased by offering access to content that online. or over-written Baltimore Heritage The archive is explored through a very different lens a very different is explored through The archive whose 2012 exhibition Quaranta, by Domenico Collect the WWWorld: The Artist as Archivist in the as a tool for collecting, copying, re-appropriating, copying, re-appropriating, as a tool for collecting, producing for artists. Confronted networking, and information and content available by the surplus of in physical publications, family on the web and documents, it is unsurprising records, and public become enamored with that we have collectively for some use in cataloguing the past and present the future. to provide a Many rich archives already exist history; local projects like peek into Baltimore’s former director of the Baltimore Museum of Art and an active advocate and participant of the arts in Baltimore, Bolger provides descriptions of various exhibitions, performances, and events that preserve arts ecosystem from a lasting snapshot of the city’s 2009 to 2012. existed as part of Internet Age , January 26, 2015, 36. New Yorker Can the Internet be Archived?,” 1. Jill Lepore, “The Cobweb: 8 SCROLL 3 : ON SITE 2016 present.” historic momentscan,asGroyssays,“remain authors andthenlaterrevisited,whenspecific projects toberecordedinrealtimebymany remains present.”Internetplatformsallowthese archives -forthefutureinwhichartist’s work work notonlyfortheirowntimebutalsoart the presentintofuture.Artistsalwaysdotheir same time,archivesaremachinesfortransporting past -topresenttheinpresent.Butat are ofteninterpretedasameanstoconservethe Instagram, become muchmorefluid.ConsiderBaltiGurls’ The form an archive can take, however, has recently body shopand dealership.TheCopycat, Cork even further to thebuilding’s historyas anauto identity asanartsspace andnowreferringback the LombardOfficeFurniture signtoreinventits House isnowcontinuing, firstremovinglettersfrom technique LoadofFunemployed andTheMotor the projectasacuratorial practice.Itisthesame the nameandhistoryofbusiness,continuing restaurant’s cuisine.“Szechuan Best”revitalizes project’s websitestillpresentsawarmreviewofthe from Peggy’s family’s laterestaurant,andthe domestic spacesinBaltimore.Thenameisdrawn Chiang in2011,existedmultiple,mostly curatorial projectbeganbyMaxGuyandPeggy a roleinarchiving.SzechuanBest,anon-going Even thenamingofthesevariousprojectsplays and alwayseasilyaccessed.Inanarticlefor as living,breathingarchivestobeedited,addedto, a territoryforthemselvesastheydevelop,existing the deathofFreddieGray. photographs documentingtheeventsfollowing to archivethewealthofvideo,interviews,and website createdshortlyafterthe2015uprisings Journal from2013,BorisGroyswrites,“Archives 5 2 sophiajacob’s lectureseries, 4 Theseprojectscreate 3 orthe E-flux E-flux “Art Workers: May 2013,9. Archive,” Utopia andthe Between Boris Groys, 5. org. uprising2015. baltimore https://www. 4. com. sophiajacob. http://www. 3. balti_gurls. instagram.com/ https://www. 2. Journal #45, E-flux E-flux 2016 SCROLL 3 : ON SITE 9 , we Scroll reorganizing preexisting Mining the Museum, Factory, and Station North Chicken Box are just a Factory, projects that few other familiar examples of current nod towards a previous history. important to remember that an It is, however, resource. In archive is not always an objective of researching spaces for this issue stumbled upon many memories of projects that stumbled upon many memories of and elicit no have become nameless over time The spaces results when entered in search engines. newspaper that have managed to survive through to present an clippings and photographs tend This is, the city. extremely whitewashed history of to Baltimore, but of course, not a problem unique in a city with such an extensive history of systemic racism, it is devastating to see how an archive can (and often does) fail to portray a truly objective rendering of a place. It is the same problem Fred addressed in his 1992-93 project with The Wilson Contemporary at the Maryland Historical Society, (Top) Image (Top) courtesy of Howard Yang. 10 SCROLL 3 : ON SITE 2016 reimagined. on howspaces canberedefined,reexamined, and and visibilityissoheavily onourminds,toreflect year afterBaltimore’s uprisings, atimewhenspace publication preserveacollection ofvoices,nearlya check oftheartsclimate inBaltimore;letthis periodically stepbackandtakeatemperature tenants andcommunities.Itisimportantto preexisting spacewithoutdisplacingprevious as areminderofthepossibilitytransforming and businesses.Letthesecasestudiesserve housed countlessprojects,galleries,studios, a smallsamplingofspacesinBaltimorethathave Let thispublicationfunctionasanarchiveofonly failed. memory bankwhentheonesprovidedushave cultural responsibilitytocreateourowncommunal ragtime intheearlytwentiethcentury. Itisour as acitycrucialtothedevelopmentofjazzand gesture thatthreatenstoeraseBaltimore’s history a landmarkthathassincebeenrazed,potent like theRoyalTheatre,too,weareconfrontedwith underrepresentation. Whenwelookataspace easily historycanbewarpedthroughbiasesand archives andmuseumdisplaystoaddresshow Mining the the Mining Wilson’s of Fred Install shot Contemporary. courtesy ofThe Image (Top) Museum . 2016 SCROLL 3 : ON SITE 11

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On Site On Scroll 3: Scroll 12 SCROLL 3 : ON SITE 2016 120 W.North Avenue changed hands in1978tohouseLombard Office Interspersed byperiodsofvacancy, thespace industry onBaltimore’s economyforsomanyyears. a testamenttotheimportance oftheautomobile one time,Jeep,Ithink.” The buildingstillstandsas dealerships overtheyears: Rambler, Nash,Fordat The buildingwentthroughmanydifferentcar the junctionofNorthAvenue andHowardStreet. would beabighit,anditwasallcenteredaround making smallquantitiesofcars,hopingthatit cars thatwereinventedandlittleshops to makeitbigwithacar. There wereallkindsof It waslikethedotcomera.Everyonegoing suddenly appearsoncityrecordsasthiscarplace. a hospital.There’s norecordbefore1906;itjust once housedinside.“Themotelnextdoorwas founder ofLoadFun,theartandstudiospace says SherwinMark,previousbuildingownerand made. “Itwasoriginally, wethink,ahospital,” other speculationsaboutitsoriginshavebeen operated asanautomobiledealership,though 120 W. NorthAvenue wasbuiltandprimarily 1 Building History 5 4 3 2 dealerships The MotorHouse LoadofFun LombardOfficeFurniture Variousautomobile E.T.Newell Auctioneers Sherwin Mark. courtesy of (Top) Image 2016 SCROLL 3 : ON SITE 13 Furniture, a name and sign that would eventually be eventually would sign that and a name Furniture, and tenants by early of Fun” to “Load down edited and Evil Hate Monkey. Little duo Trixie burlesque Office ran Lombard Beatrice Gotthelf Barry and purchase Mark offered to until 2005 when Furniture Mark, it, I think,” says “They inherited the space. went down there to buy I father. “from [Beatrice’s] I while I was there wandering around, and a chair, place, would want to sell this wouldn’t said, ‘You I do.’” ‘Yes, you?’ And he said as a utopian studio Load of Fun is described its previous tenants, housing a space by many of and performers in its studios with variety of artists for constant dialogue, interaction, communal space Theatre, Make and collaboration. Single Carrot and What Studio, Baltimore Node Corporation, projects that are just a small handful of Weekly once occupied the space. Load of After more than six years of operation, a zoning Fun voluntarily closed in 2012 following use of the violation (“Something like, ‘Unlicensed Mark). Nearly four second floor front,’” remembers closing, the Baltimore years after Load of Fun’s the space Arts Realty Corporation has reopened retail space as studios, performance space, and continuing the under the name “The Motor House,” as a multiuse arts space. legacy building’s (Right) Image courtesy of Sherwin Mark. 14 SCROLL 3 : ON SITE 2016 of Load ofFun previous artist resident Mara Neimanis, right. in thebottom Mara ispictured Aerial Festival. Baltimore Alley from the Performance Sherwin Mark. courtesy of Image (Left) 20162016 SCROLLSCROLL 3 3: ON: ON SITE SITE 15 15 , so that he knew , so that he knew Air Heart Mara Neimanis: Load of Fun was an incubator only happening for innovative things that were not There were city. in the city but happening for the of the building, large circular spaces on each level and hang out and [all of the artists] would meet itself allowed and talk...The fact is that the building There were for incredible meetings in the hallways. their own a bunch of photographers who had built, because he, collective darkroom that Sherwin When they were using too, was a photographer. big sink. Sergio it I would clean my dog off in the from DC and [Martinez], from Station North, came Sherwin. He took fell in love with Load of Fun and into a carpentry the whole third floor and made it the space. He studio. Then he grew too big for would have threw parties on the roof, and they You dinner parties in the middle of the gallery. could join in, and these things were happening all the time… [Load of Fun] was very much a part of like I went to the studio the pulse of life. It wasn’t and then I went home. It was very much a part of everything. Do you think the physical space of Load of Scroll: Do you think the Fun contributed to its success? You were one of the early residents of Load of early residents of the one were You Scroll: space? to the drew you What of Fun. about Sherwin I had heard Mara Neimanis: a ran Nana Projects, Molly Ross, who through come Sherwin to project. I invited puppeteering see one of my pieces, something about my work. It was great because something about with me through the art. It’s he made a connection retail space, it had meaning. He not like it was just a conglomerate of artists that were wanted to build things. What Load of Fun was for doing innovative foray into permission. me was an incredible 16 SCROLL 3 : ON SITE 2016 never wanttodoitagain becauseithitit. Baltimore. Itwastrulyunique, tothepointthatI’d an amazingmatchthatreally onlyhappensin the whirling,swirlingof aerialists.Itwas was soamazing.Thegraffiti somehowmatched such arichdiversityintheaudience.Thegraffiti in thealleywayitbrokeborders.Therewas close. Ithink,too,whentheAerialFestivalwas like, “Moveback,herecomesafoot.”It’s really rare thatyougetanaerialistsocloseit’s Soleil, they’rethereandyou’rehere.Butit’s very With aerialworkit’s veryhard...withCirquedu Baltimore AlleyAerialFestivalthatyoubegan? Scroll: Canyoutalkalittlebitaboutthe that’s whatyouwantinastudio. place. Insomerespectsit’s better, it’s great, Now Igotothestudioandit’s averyseparate I thinkthatmostpeoplewouldagreewiththat. been inbecauseitwasreal, exciting performanceeventsthattheyhadever and aerialistssaythatitwasoneofthemost Fun wasabout.Istillhaveaudiencemembers was anincredibleextensionofwhatLoad In-Flight Theater, mycompany, butIfeltthatit of whatLoadFunwas.Itwasproducedby that theAerialFestivalwasapieceofbranding he gavemeequipmenttorigonhisroof.Ifelt cleaning companynextdoorforthirtyyears,and good friendofSherwinwhoranthebuildingand he saidyes.IwentovertoLanny[Schuster],a Sherwin ifIcouldcreateafestivalthereand to domore,bigger, differentwork.Iasked for aspace,asIalwaysamlooking alleyway behindLoadofFunandIwaslooking three yearsinarow. Itstartedin2010.Isawthe Mara Neimanis:TheAerialFestivalhappened this close. 2016 SCROLL 3 : ON SITE 17

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On Site On Scroll 3: Scroll 18 SCROLL 3 : ON SITE 2016 1 Building History 2 E. RedwoodStreet to accompany theexhibitionsinspace. Roughly involving food,dance,film screenings,andlectures surrounding officebuildings withavarietyofprograms satellite galleryandquickly attractedworkersfromthe Downtown Galleryrepresented thecountry’s first expand bothitsprogramming anditsaudience.The Savings BankofBaltimore,allowingthemuseum to Center. Itsnewrent-freespace wasprovidedbyThe two yearsearlieracrossthestreetatOneCharles Downtown Gallery, asatellite gallerythathadbegun opened thedoorsofHansaHaustoreveal new On January15,1974,theBaltimoreMuseumofArt Halberstadt.” 16th-century GermanRathaus,perhapstheZwicken in Steamship Company, resembling“ahalf-timbered as theBaltimoreofficeofNorthGermanLloyd early 20thcentury, theHansaHauswasbuiltin1912 of immigrantsfromGermanytoLocustPointinthe office buildingssurroundingit.Reflectingtheinflux original GermanRenaissancearchitectureamidstthe Street, nicknamedthe“HansaHaus,”retainsits Now operatingasaFedExKinko’s, 2E.Redwood 5 4 3 2 SteamshipCompany FedEx Kinko’s (Returned)SavingsBank BMADowntownGallery NorthGermanLloyd Savings BankBuilding 1 “Baltimore BJV-545.BS. dress forthe Richard Chil- Haus, 1978. (Top) Hansa Baltimore Sun Baltimore 18, 2010. November Baltimore Baltimore Explore Hansa Haus,” the Week: Building of Eli Pousson, 1. Heritage

, 2016 SCROLL 3 : ON SITE 19 Of Black . Highlights 3 Afro-American

2 Black Artists in America presented traveling work from the presented traveling , the exhibition was supplemented with , the exhibition was supplemented and Newspapers America from the Atlanta University Collection of Afro- The exhibitions presented inside were numerous inside were numerous presented The exhibitions of courtroom spanning collections and varied, history of the drawings to a comprehensive exhibition entitled postcard. A 1974

36,000 people visited the Downtown Gallery in its Gallery the Downtown visited people 36,000 in stopping workers office of them many year, first lunch breaks. during their High Museum’s collection, which boasted the collection, which boasted High Museum’s works by contemporary black largest number of Elizabeth Catlett, Hale Woodruff, artists at the time. were among over sixty artists and Jacob Lawrence by the the presented. Supported series, gallery talks, lectures, and two film In addition to the Downtown Gallery, various other In addition to the Downtown Gallery, the efforts were made by the BMA throughout and satellite years to establish branch museums International programs, including at the YWCA Jewish Education Alliance, and Sheraton Center, at the Mall later, Belvedere Hotel in the 1940s and, of Columbia in the 1970s and 80s. American Art The , ed. Policy Practice and as Guides to of Studies A Collection as Educator: Barbara Y. Barbara Y. Newsom and Adele Z. Silver (Berkeley: University of California Press, 1978), 153-55. 3. Email correspondance with Emily Head Rafferty, Librarian and Archivist at the BMA. Art Museum 2. on Council and Museums in Education Arts, Visual (Right) Downtown Gallery (detail), The Baltimore Museum of Art, November 1975. Buildings and Grounds Photograph Collection, Archives and Manuscripts Collections, The Baltimore Museum of Art. BGPC8.5.1. 20 SCROLL 3 : ON SITE 2016 Downtown Gallery manager of previous gallery Brenda Edelson, BS. of the 1975. Collection Gallery, March Downtown Apropos USSR: USSR: Apropos opening of right) atthe (second from Brenda Edelson (Top) Sun by Photographs Henri Cartier- Henri Bresson , BJN-919- Baltimore Baltimore atthe 20162016 SCROLLSCROLL 3 3: ON: ON SITE SITE 21 21 . For Behind the Picture Press Brenda Edelson: George Dalsheimer ran a beautiful gallery downtown on Charles Street, and they were open quite a while. The Dalsheimer Gallery had world class photography exhibits, and it went on for probably ten years. I would think it closed around 1985. I also had a gallery briefly on Charles Were there any other exciting projects going on there any other exciting projects Scroll: Were nearby at the time? We had a wonderful Toulouse-Lautrec had a wonderful Toulouse-Lautrec Brenda Edelson: We that was circulated by the show and a photojournalism show Museum of Modern Art called What were some of the most memorable shows you Scroll: What were some of the most memorable organized? And how did it fall into your hands to be the director of into your hands to be the director Scroll: And how did it fall that project? organization experience, I had community Brenda Edelson: a number to get projects going. I had started and I knew how Tom but I did not have an art background. of things before, need another curator! He had Freudenheim told me he did not who knew how to plenty of those and he needed somebody to what I knew how that’s organize and get things done, and Maryland Committee for do. I had been the director of the started a number of projects. Daycare before that and we had No, it started when Tom Freudenheim was Freudenheim when Tom Edelson: No, it started Brenda the 1972. And it was and that was in of the BMA, the director Whitney even before the country, gallery in the first satellite three years. And in 1978, it had free rent for satellite. We closed. How did the Downtown Gallery begin? Was it your it Was begin? Gallery Downtown did the How Scroll: idea? the Toulouse-Lautrec exhibition, we had Linda Brown making the Toulouse-Lautrec street, and it was great crepes and can-can dancers in the or films that related to the fun. I usually either had a speaker exhibition. 22 SCROLL 3 : ON SITE 2016 to findthattoday. but ittakesalotofenergyandmoney, andit’s hard afterwards. TheDowntownGallerywaswonderful, Silvia Cordishrunningit.Ibecameaprivatedealer several years,Idon’t rememberhowmany, withjust I wasjustinitforaboutayearandcontinued but Ijustdidnotlikeretail,doingitthatway. Ithink more expensive,andwehadaverygoodsuccess, print boom,whenprintsweregettingbiggerand Hockney, andRobertMotherwell.Itwasduringthe work fromFrankStella,HelenFrankenthaler, David we showedcontemporaryprints.We hadshowsof Street afterIleftthemuseumwithapartner, and afford it,anditwasavery excitingtime. creative mindcameupwith, aslongwecould lot ofsupportfromthedirector todowhatevermy had agoodtimedoingit, Iloveddoingit.hada Baltimore MuseumofArt.Iwasthereuntil1985. We I wentontobecometheprogramdirectorat approachable. the yearswhenthingsweremoreaffordableand before thingsgotsoveryexpensive.Itwasduring drawing shows.Itwasagreateffort.Butit Wonderful printshows,photography chance toseehowtheylikedlivingwithsomething. a timeandthenbuyitorreturnit.Itgavethem years. Theycouldrentaprintforthreemonthsat got alotofpeopleinBaltimorecollectingformany Gallery, anditwasaverysuccessfulprogramthat museum alsohadawonderfulSalesandRentals but itwasn’t toomuchearlier. Butyouknow, the Brenda Edelson:Itmayhavebeenalittleearlier, Contemporary PrintFairatthattime? Scroll: Was theBMAalreadydoingitsbiennial 2016 SCROLL 3 : ON SITE 23

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On Site On Scroll 3: Scroll 24 SCROLL 3 : ON SITE 2016 3 2 1 Building History 823 E. BaltimoreStreet MagazineOffices Art Gallery and events.When and artistsofferingcoverageoflocalshows featuring interviewswithBaltimore-basedmusicians Baltimore.” Exhibitions,such astherecently-closed the youngestAfrican-American-owned artgalleryin Little ArtGallery, anartspace that“strivestobe Gibbs reopenedthedoorstounveilTheIncredible public, andinDecember2015,Vanderwood and However, thetwoquicklydecided toopenthe creative officesandstudios. moved in,initiallyplanningtousethespaceonly as in 2015,MillyVanderwood and JerrellGibbs classes, and otherprogramming. Harris, andare supplementedwithartist talks,art including ErnestShaw, EricBriscoe,andJason Art in the Hands of Men, of Hands the in Art as thecreativeheadquartersof creative incubatorbeganwhenthebuildingserved architecture firmsandoffices.Itshistoryasa in southeastBaltimore,hasmostlyhousedvarious 823 E.BaltimoreStreet,anunassumingrowhome Magazine UndagroundRadar The IncredibleLittle Apollo Design, Inc. . Undaground Undaground isalocalpublication showcaselocaltalent, decidedtorelocate Undaground Radar Radar Undaground Jerrell Gibbs. studio of work inthe In-progress (Top) 20162016 SCROLLSCROLL 3 3: ON: ON SITE SITE 25 25 I used to draw and sketch when I was younger, I was younger, Jerrell Gibbs: I used to draw and sketch when getting feedback and and I stopped because I really wasn’t what it Art to them wasn’t encouragement from my family. cool at It wasn’t money. a way to make was to me, it wasn’t and I would sketch, but that time. I used to pick up a pencil in sports, because that then I just stopped. I got involved got me to high school. was the cool thing to do and that I linked up with a few friends and started managing Later, hip hop artists. I ended up going to college playing football, and we kept moving with the music, which was going well, but the more you work with individuals, the more you see the same visions and determination aren’t that everyone’s as yours, so I kind of cut ties with the music. I ended up dropping out of college after that, because I was really frustrated. Maybe a year later I picked up a pencil again and Can you tell us a little bit about your backgrounds? Scroll: Can you tell us a little bit about I was a rapper since the age of twelve. Milly Vanderwood: started managing artists I stopped a couple years ago and in the arts about a and building brands. I became involved up. Jerrell started painting year ago, when Jerrell and I linked ago. I’m still into music and about a year and a half, two years to merge the two together. I’m still into art, and now I’m trying I’ve always looked up to Diddy. Milly Vanderwood + Jerrell Gibbs, Gibbs, Jerrell + Vanderwood Milly Little Incredible The of founders Art Gallery 26 SCROLL 3 : ON SITE 2016 the rightthing. in thisshortamountoftimeisjustreassurancethatI’mdoing along. WhatI’mputtingoutandtheamountofworkdoing over timereiteratesthatIshouldhavebeendoingthisall painting thatday. Ihavenotstoppedsince.Theprogression daughter gavemeaneaselforFather’s Day, andIstarted started sketching.Thefollowingyear, mywifeand future linedup. here, takingitdaybyday. We havesomegreatthingsinthe block andmakeitintoan artsdistrict.We’re startingright Gallery rightnow. Oneofourgoalsistotakeoverthiswhole we do.That’s whatwe’redoing withTheIncredibleLittleArt understand thatthereisamarketforartistsdo worklike Just tounderstandtheculturethatwehaveinhere and come aswell,justtoseeadifferentsideoftheart world. We wantpeoplelikeartcritics,journalists,andbloggers to typically wouldn’t cometoagalleryinthefirstplace. that peoplecomeandenjoytheirwork,especially peoplethat our goalis,toprovideaplatformforthemhave aplace to betheplatformforunderrepresentedartists.That’s what we openedtothepublic,andherearenow. We wantthis things inorder, andwemadeithappen.OnDecember 19, out adatetodoanopening,wemadesurehadfew Jerrell Gibbs:Itmadeperfectsense.Afterthatwefigured anyway, soitwaslikewell,whynot. Milly Vanderwood: We weredoingexhibitsandshowcases of theblue,Millyhadideatoturnitintoanartgallery. meetings, thebusinesssideofthingswehadgoingon.Out much wereusingitasstudiospaceandaplacetohave Jerrell Gibbs:Itbeganwhenwegotthespace,pretty what areyourhopesforthespace? Scroll: HowdidTheIncredibleLittleArtGallerybegin,and 20162016 SCROLLSCROLL 3 3: ON: ON SITE SITE 27 27 , and this was their office at first. He was , and this was their office at first. What would you say the major values of the gallery Scroll: What would you say the major values are? What do you look for in an artist? but we also Jerrell Gibbs: [Milly and I] vibe the same way, think like us, everyone has understand that everyone doesn’t open to all of that. Our goal is to different opinions. We’re have people who come in here and want to be involved and want you to believe in yourself, we want put their work up. We not the biggest space, and we you to be respectful. We’re might not have all the resources everybody has, but at the Somebody I know had a magazine, Somebody I know had a magazine, Milly Vanderwood: Undaground Radar How did this space get chosen for The Incredible Little Scroll: How did this space get chosen for Art Gallery? transitioning to move, and he knew I was looking for a space. transitioning to move, and he knew at it, and I liked it. This is He called me, I came and looked just this [pointing to the front where I was going to be at first, showed us that side and room we’re in]. Then the landlord ended up just We better and cheaper.” we thought, “That’s We were just using months. having that space for five or six We just meeting space. it for creative space, office space, ago. acquired this front room three weeks (Right) (Right) Image courtesy of Jerrell Gibbs. 28 SCROLL 3 : ON SITE 2016 astronomical prices.That’s notourgoalatall. to wheretheywantbe,wecan’t beoutherecharging that inordertogetwherewewantbeandotherartists to sellwork.It’s abusiness,butatthesametime,weknow and workforyou.We’re notchargingthatmuchforartists people thatarereallygoingtobackyouandbelievein end oftheday, whenyoucomehere,knowhave different andhaveanavenuetoshowtheirwork. lives tohaveaplaceforpeoplecomeanddosomething We’re riskingwhatwehavegoingonwithourpersonal even digestedeverythingyet.We’re providingaplatform. taking thetimetoreallyseewhat’s happening.We haven’t this project.We’re workingandwe’renoteven much thatwedoforgranted,becausewe’resofocusedon We areawholenewgenerationofartandenergy. We takeso difference, honestly, isourageandtheenergythat wehave. worrying aboutschooling.We don’t carewhoyouknow. Our their kids,andexperiencesomethingdifferent.We’re not wouldn’t gotoagalleryinthefirstplace.Theycomein,bring Shot Tower, sowecanhavepeoplecomewhotypically Jerrell Gibbs:We’re righthere,ablockandhalffromthe Milly Vanderwood: Your mindcan’t bestrictlyonmoney.

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On Site On Scroll 3: Scroll Ward - 04 Section - 10 - 04 Section - 10 Ward Block - 0619 Lot - 019 30 SCROLL 3 : ON SITE 2016 1 Building History 118 N. HowardStreet the Bernheimer-Leader stores. stores, twoearlybargain stores,mergedtoform 1923, BernheimerBros.and theLeaderdepartment affordable goodsandservices. Inthesummerof class and the growing immigrant population by offering the firstdepartmentstorestoappealmiddle store, butitdidcarveoutaspaceforitselfasone of Hutzler’s asBaltimore’s mostpopulardepartment 118 N.HowardStreetmayhaveneverquiterivaled studios muchlater. giants beforetransformingintoagalleryandartist multiple timesbetweenahandfulofdepartmentstore of HowardandLexingtontransferredownership largest ofthesespaceswaslocatedattheintersection having longoutlivedthebusinessesonceinside.The Hutzler’s, Hochschild,Kohn,andStewart’s, stillstand, The palatialremainsofthebest-knownthesestores, century, Baltimore’s departmentstoreindustrythrived. From the1840sthroughcloseoftwentieth 5 4 3 2 under itsown name. store corporation atthetime,reopened thespace the MayCompany, thenation’s largestdepartment Studios Bernheimer-Leader SubBasement Artist Pharmacy Rite Aid Hecht’s The MayCompany 2 TheMayCompany wouldrun 1 Justtwoyearslater, Lisicky, 2. 65. Press, 2012), The History (Charleston: Baltimore’s Baltimore’s Bygone Bygone Baltimore’s Baltimore’s J. Lisicky, Michael 1. Department Department Bygone Bygone Stores Department Department Stores: Many Many Stores: Happy Returns Happy Stevenson. of Ryan courtesy Image (Top) , 67.

, 2016 SCROLL 3 : ON SITE 31 Later, another merger another Later, 3 would take place, this time between Hecht’s and this time between Hecht’s would take place, May. through a connection through the Many years later, curator Jeffrey Downtown Partnership, artist and to begin a Kent was able to move into the space Artist Studios. project aptly called SubBasement Kent opened After heavy cleaning and renovations, would the space as a gallery in 2004. SubBasement over two go on to run for a decade, showing foot gallery. hundred artists in its 8,000 square out of 118 N. Howard Street for thirty years and years and for thirty Street Howard 118 N. out of floor. eighth on the restaurant a luxurious included May as an outsider; many viewed Unfortunately, nearby department many of the other whereas run by multiple pride in being stores took raised in born and of family members generations to was difficult for the May Company it the city, rose when a large fire, find its place. Suspicions the Great Fire of 1904, broke out the biggest since in 1947. Deemed an act of at the May Company department, the event remains arson by the fire clear that a though it seems unsolved even today, place. malicious event took , 68. Stores Department Bygone Baltimore’s 3. Lisicky, (Bottom) (Bottom) Image courtesy of Ryan Stevenson. 32 SCROLL 3 : ON SITE 2016 founder ofSubBasement Artist Studios Jeffrey Kent, start havingexhibitions. paint thefloorsandaddlighting,maybeanothersixmonthsto 2004 Ithink.Ittookmeaboutsixmonthstocleanitoutand and thehistorybehindit. Scroll: CanyoutalkalittlebitabouthowSubBasementbegan? spaces inthe downtownareaatthe time. exhibitions without museumbudgets. Thereweren’t alotofwork and womenartiststhe abilitytodolarge,museum-sized Jeffrey Kent:Atthetime,itdefinitely filledthegapforminorities gaps inBaltimore’s artscene? Scroll: DidSubBasementdeliberatelysetouttofillany specific underground. Thetitleofthefirstexhibitionwas a placewhereIcoulddisturbotherpeople.Itwas twostories Jeffrey Kent:SubBasementhadalotofspace,anditwasn’t the historyofspaceinformanyexhibitionsyou puton? important toyouinchoosingaplacehousethisproject?Did Scroll: Was thelocationorphysicalspaceofSubBasement dank whenImovedin-that’s aquotefrom put sweatequitytomakeSubBasement.Itwasverydarkand to letmegetthespaceatabelowmarketvalueintowhichI’d felt. EspeciallyonewithAfricandiasporainBaltimore.Heagreed housing artiststudiosandexhibitionspace,whichwasavoid,I and toldhimwhatI’dliketodowiththesubbasementspaceby condemned bythefiredepartment.IcontactedMr. Hillman from theirstudiosatthehistoricAbellbuilding,whichhadbeen the time,Iwaswithagroupofartistswhowerebeingdisplaced the presidentCEOofSouthernManagementCorporation.At Downtown PartnershipIwasintroducedtoDavidH.Hillman, Jeffrey Kent:Backin2003Ineededastudio,andthroughthe Lexington , anditwasrelatedtotheLexingtonMarketcorridor City Paper City Deep Under Under Deep article, 2016 SCROLL 3 : ON SITE 33

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On Site On Scroll 3: Scroll 34 SCROLL 3 : ON SITE 2016 John Faust,whoshortlyafterpurchasedit. the buildingin1870,andshoemanufacturer entrepreneur GeorgeAppold,whocommissioned to astheAppold-Faustbuilding,namedfor 307 W. BaltimoreStreetismostcommonlyreferred an elaboratecast-ironfacade. Corinthian columnsandlargearchedwindowson and 1911,thefivestorybuildingretainsitsoriginal in DowntownBaltimore,andsmallerfires1907 Fire of1904,whichdestroyedover1,500buildings Despite facingdamagesfromtheGreatBaltimore three prominentfiresandnumeroustenants. 307 W. BaltimoreStreetstillsstandstodayafter performance andgalleryspace. Now calledEMP, the spacetodayfunctions as project runbySarahDoherty. the fallof2010asIn/Flux Gallery, ayear-long office spaceandvacancy, thedoorsreopenedin stores occupyingthebuilding, andafterperiodsof twentieth centurysawavarietyofdepartment 1 Building History 307 W. BaltimoreStreet 6 5 4 3 2 In/FluxGallery TheTradingPost Faust ShoeManufacturer EMP Collective Baltimore ShoeHouse VariousFirms Auction 1 The “Appold-Faust 2016. March 28, Explore Explore Baltimore Baltimore Building,” Donnelly, and Theresa Windmueller Dan 1. Heritage at EMP. performing Joy Postell Balti Gurls. courtesy of Image (Top) , 20162016 SCROLLSCROLL 3 3: ON: ON SITE SITE 35 35 Carly Bales + Brad Leroy + Ebony Evans Evans Leroy + Ebony Bales + Brad Carly Cruz + Chanel Alex D’Agostino + Roundtable: EMP Collective EMP Roundtable: Well, it’s definitely been trial and error. definitely been trial it’s Carly Bales: Well, Brad Leroy: For our first couple of shows, we found that we spent a lot of time and resources just trying to find a location. If we could use that energy in the shows, we figured we’d be better off. Was it difficult to start a space without real estate it difficult to start a space without Scroll: Was professionals, legal advisors, etc.? We’ve been running a space rooted in been running a space rooted Carly Bales: We’ve since fall 2011. We interdisciplinary work and performance start the space as part of were able to be granted funds to Partnership of Baltimore an initiative from the Downtown met in college in (DPOB). The original members first and came together after they all found Florida Tallahassee, of It was kind years later. themselves in the Baltimore/DC area of finding other weirdos. Of chance, but weirdos have a way on other folks and other course, now it has evolved and taken work. How did EMP Collective get together in the first Scroll: How did EMP Collective get together place? Can you give us an introduction on EMP collective? Scroll: Can you give us multi-use art space Carly Bales: EMP is an artist-run, as a multidisciplinary (performance, started downtown. We collective music) experimental performance film, visual art, January performance in Baltimore in with our first devised 2010. 36 SCROLL 3 : ON SITE 2016 then. a year. We stretchedoutthosefundsforquitesometimepast building. We weregivenfundstostartthespaceandrunitfor locating interestedlandlordsfromDPOB.We donotownthe rate ormoreandthatwasn’t adeathtrap,andwehadhelp adequately useforourambitiouspurposesthatwasn’t market Carly Bales:Ittookus6-8monthstofindaspacewecould artistic practices withtheawesomecircumstance ofsharing/ collective members’ showsandjuggling ourownlivesand Alex D’Agostino:We alltaketurnshelpingwith other Scroll: Howdoesprogramming workatEMPCollective? District ofBaltimorein2012. history ofthebuildinganditsformerplacein Garment with RotatingHistoryProjectonanexhibitionrelated tothe mercantile outpost,tothebestofmyknowledge. We worked Carly Bales:Thebuildingwasaformershoefactoryturned recently cometotheendoftheirlease.Sowemoved onup. Lucky forus,theIn/Fluxgalleryon307Baltimore St.hadalso of lookingatspacesonourownandwithDPOB’s input. Brad Leroy:ButasCarlymentioned,thatwasaftermonths original officewallsifyouevergobackthere. first floor“forthetimebeing.”Ourbackspacestillhas with ourlandlordsotheywerewillingtoletusrenttheupper into officespace,butwewereabletodeveloparelationship landlords since2012.We gotkickedoutsotheycouldturnit Carly Bales:We’ve beenonamonth-to-monthwithour owners [of307BaltimoreStreet]. deal’ andprovidedsomeupkeepincentivesforthebuilding’s Brad Leroy:AfewkeyfolksatDPOBhelpedus‘brokera alley on306RedwoodStreet. Carly Bales:Originally, wewereinabasementspacean Scroll: Sohowdidyouguysendupinthespace? 20162016 SCROLLSCROLL 3 3: ON: ON SITE SITE 37 37 Scroll: Cece, can you tell us about Edge Control? Chanel Cruz: Edge Control was created to provide a platform for black and brown female-identified artists. We’ve brought on a lot of new members since brought on a lot of new members Carly Bales: We’ve [Evans] and Mia 2014, including individuals, like Ebony [Loving], and other small collectives that are growing, like Balti Gurls and Llamadon. This is my first time being a part of EMP, being a part of EMP, Ebony Evans: This is my first time I of EMP and visited numerous times. though I’d heard a it wasn’t too much about it, because know honestly didn’t So in the “black arts” scene of Baltimore. venue well known had no plan my events for the space, many when I began to outside was. Once I was able to see events idea of what EMP how connected I realized visit for, of what I would normally programming is definitely outstanding, I was to it. So the three events I was able to pushing societal norms of art. The The space is huge organize at EMP have been successful. that you see fit. I love that and can be turned into any vision aspect. So in some ways, EMP is like an umbrella like an umbrella ways, EMP is So in some Brad Leroy: our for all of location and resources providing a organization, new and old. members, caring/transforming what people expect to experience from a from a to experience expect what people caring/transforming space. , of August Potatoes (Right) (Right) Image courtesy of Emilia Pennanen. October October 2014. 38 SCROLL 3 : ON SITE 2016 small performance companiesaddressing potentialsolutions of conversations betweenseveralfolks atEMPandaslewof to seeliveoninthearts community. Itderivedfroma series we doatthespaceand the kindofsupportsystemswewant Carly Bales:LeMondoissortofalogical evolutionofwhat you talkalittlebitabout this project? individual artists,curators,andarts-loversinthecity.” Can a diversecommunityofartsandorganizations, historic HowardStreetcorridor, theprojectwillchampion internationally. ComprisedofthreebuildingsonBaltimore’s as acenterfortheatreandthelivearts,nationally and “an artist-owned-and-drivenprojectpositioningBaltimore Scroll: Your websitedefinestheEMPprojectLeMondoas It’s awin-winforeveryone. there ismoreawarenessofEMPintheBaltimorecommunity. practice. Anddueto[Carly’s] supportforusandLlamadon, was perfectforBaltiGurlstoincorporateallofthethingswe such asperformanceart,music,andgallerysetups.EMP etc. EMPisaverysupportivespacefornumerousfunctions collective, suchastravelingexpenses,websiteupdates, artists toBaltimorefromallover. Thefundsareusedforour for ustoraisemoneyaswellbringbrownandblackfemale we couldpavethewayforthesewomen.Theeventisa in BaltimoreCitywerelackingthisinclusion,andwethought and brown-identifiedfemales. We noticedhowalotofshows Edge Controlisaparty, butitisalsoacelebrationforblack- Control 2. at Edge DJ Amythsx com. WithStyle. Strangers www. courtesy of Image (Left) 20162016 SCROLLSCROLL 3 3: ON: ON SITE SITE 39 39 Absolutely. For me, this process has been about Carly Bales: Absolutely. artists are used, abused, empowerment in a venue where told one thing, given much less, pushed out by changes in the market. As I was having these roundtable meetings about space, collective ownership, shared resources, etc., we began to talk about what area we would most like to try and make it happen in. An RFP is a request for proposals. Meaning: the Carly Bales: An RFP is a request for proposals. process and allows city publicly opens up the development whatever buildings or areas anyone to submit a proposal for are up for sale by the city. on artists being used often have discussions Scroll: I see. We as a tool for gentrification. Scroll: Can you tell us more about the RFP? Major construction is getting underway right Brad Leroy: Major construction is getting underway high rise and A new EMP. now on Baltimore Street, next to alter our block. Getting commercial properties will definitely inevitable. priced out of the neighborhood is Le Mondo is us taking a giant leap forward with Brad Leroy: Le Mondo is us bigger than any one something It’s some great partners. organization. change in the next ten years Carly Bales: A lot of things will the former The city has been parceling out as I am seeing it. these and releasing RFPs for Westside Superblock on the developed. buildings to be privately to the ongoing lack of safe, affordable, and lasting and lasting safe, affordable, lack of ongoing to the tool of as a Le Mondo I see Baltimore. space in performance in empowered not typically for a community empowerment city planning by development, and of real estate, the world and live and work in community we a stakehold in the creating and growth. experimentation home for artistic a permanent 40 SCROLL 3 : ON SITE 2016 art scene? Scroll: WhatdoyouthinkiscurrentlymissingfromBaltimore’s block weloved. the cityissuedanRFPforbuildingsonHowardexact radiated fromitdespiteitsabandonment.Aroundthattime, We all lovedHowardStreetandthewonderfulenergythatstill growing more! it flourish.It’s arealcollective, andI’mlookingforwardto Ebony Evans:I’mthankfultobeapart ofEMPandtowatch Carly Bales:Talk ischeap!Werk! Brad Leroy:With thecreationofArt-Part’heid, all thedifference. the next.Sometimessimplestthinglikeshowingupmakes or moresidegigs,andpersonalrelationships.I’masguilty It’s notfuckingeasywhenyoujugglemultipleprojects,one self-isolate bydisciplineandalongwell-wroughtsociallines. of events.Ifindweareallworkingsohardsometimes don’t know, hangoutwithnewpeople allthetimeoutside out, makeyourselfuncomfortable,supportpeopleyou community artistically, professionally, andpolitically. Go step upoursupportgametoempowerandadvancethe Carly Bales:Ikeephammeringitin,butweallneedto makes iteasiertogetplaces,amongotherthings. Alex D’Agostino:Fundingandpublictransportationthat grail. pay thepeoplethatworktirelesslyforitisstillsort ofaholy your firstpatrontobeinganorganizationthatcan properly isn’t muchsupportforgroupsinbetween.Howyougetfrom there forstart-upsandLARGEanchororganizations, butthere a hurdleitself.With regardtofunding,thereareresourcesout but we’vegotalongwaytogo.Acknowledging the issuewas community hasbeguntoaddresssomeofthese boundaries, 1 thearts html. arts-scene. the-baltimore- disparities-in- the-gap-of- bridging- art-partheid- com/2015/01/ bmoreart. http:// 1. 2016 SCROLL 3 : ON SITE 41

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On Site On Scroll 3: Scroll 42 SCROLL 3 : ON SITE 2016 1 Building History 1317 N. CharlesStreet then knownasHarley’s SandwichShop. which currentlyhousesTurp’s SportsBar, was and smallbusinesses.1317N.CharlesStreet, Street wasmostlyoccupiedwithvacantbuildings Let’s rewindbacktothe70s.In1979,Charles 3 2 we werealmost students,justoutof school.” he wasalittlereluctantat firstbecause,youknow, him wewereinterestedin gettinginvolved.Ithink Harley athisapartmenton CharlesStreetandtold finally decidedtomove forward withit.Imet talking tohim,afterdiscussions,yes’s andno’s, we on, youwillhaveastudioandgalleryspace.’After you guyswouldbeinterestedindoingsomework contacted us,saying,‘We havethisbuildingthat just graduatedayearoutofRinehart,andNorman says BillTata, oneofProposal:’s founders.“We had Sculpture Director]Norman[Carlberg]aboutit,” interested andtold[theRinehartSchoolof the buildingasanartspace.“Well, Fredwas president ofMICA,withtheintentrepurposing Brinsfield reachedouttoFredLazarus,former unused levelsofthebuilding,ownerHarley pressure fromneighborstorenovatetheupper, Shop Turp’s SportsBar Gallery Proposal Harley’s Sandwich 1 Feeling City. across Baltimore Sandwich Shops several Harley’s There were restaurants. of fastfood local chain owned a Harley Brinsfield 1. Gallery, 1979. at Proposal: Opening night Tata. courtesy ofBill (Top) Image 2016 SCROLL 3 : ON SITE 43 Brinsfield agreed and six friends and graduates graduates and six friends and agreed Brinsfield Sullivan, Mark Tata, Bill program, Rinehart of the and Melanie Yushkevich, Neff, Jim Adajian, Maripat of one lease for the cost signed the Allen Hurdle, year. dollar per their post-graduation year The artists dedicated space and building a gallery to renovating the and three stories of artist on the second floor collective named the project studios above. The the experimental spirit “Proposal:” to emphasize all mediums of art. and interest in accepting lot of experimental stuff, non- tried to do a “We says Jim Adajian on the commercial projects,” the space. “There weren’t programming within time. Now a lot of galleries in the city at the wanted to have a there are a couple dozen. We movie few performance things, poetry readings, space was a solo screenings.” The first show in the Carlberg, exhibition of work by sculptor Norman crew move into the professor who had helped the the space. (Right) Image courtesy of Bill Tata. Norman Carlberg’s sculpture work in the storefront of the gallery. 44 SCROLL 3 : ON SITE 2016 in thatway.” their twentiesatthetime.Theywererealpioneers was oneofvery, veryfewspaces runbypeoplein just ahandfulofspacesbackthen,andProposal: time, itwasthisbrief,shiningmoment.Therewere remembers that“althoughitlastedsuchashort City Paper City property. CraigHankin,oneofthefounders the collaborativecuratorialproject,vacating with otherfull-timejobs,decidedtoputanend gallery closeddown.Thefoundingartists,occupied After just11months,theleaseexpiredand , wroteaboutthespacemanytimesand Gallery. of Proposal: the founders Portrait of Bill Tata. courtesy of (Left) Image 2016 SCROLL 3 : ON SITE 45 in News American (Right) Image courtesy of Bill Tata. Article on Proposal:’s opening and Norman Carlberg’s exhibition from the (Right) (Right) courtesy Image Tata. of Bill Opening night at Proposal: 1979. Gallery, (Bottom) The logo of Proposal: Gallery. 1979, written by Jacques Kelly. 46 SCROLL 3 : ON SITE 2016 dollar. listed asone Annual rentis with Brinsfield. lease agreement Copy ofthe of BillTata. Image courtesy (Top) 2016 SCROLL 3 : ON SITE 47

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On Site On Scroll 3: Scroll 48 SCROLL 3 : ON SITE 2016 1 Building History 1910 N. CharlesStreet Koreatown, in StationNorth,whichwasonceactiveas Baltimore’s musicsceneweirdandalive.Located The Crownisanartist-runvenuethatkeeps 5 4 3 2 that travelsthroughout theEastCoast. stop forMVP Bus,aChinese-owned corporation floor ofthebuildingcontinues tobeusedasabus Crown’s RedRoomandBlueRoom,whilethefirst coexisting inonebusiness. UpstairshousesThe /Law Services),”anunusal mixtureofservices Sound ProfessionalHearingAid(FinanceInsurance (금융/보험/법률),” whichtranslatesto“Clear mysteriously explainsitselfas“청음보청기 and “AcupunctureHerbClinic.”Thefirstsign including “ProfessionalHearingAidServices” and alludetothebuilding’s variedhistory, previous Koreanbusinessesstillhangoutside and performancespaces.Thesignsofmany Coffee Services) Aid Hearing Professional Family Clinic The Crown The MVPBusStop John’s Breakfast& LeeGwangBaek 청음보청기 (ClearSound 1 TheCrownholdsmultiplerestaurants “Jae Won Kim, 2015. North,” over Station portrait looks whose father’s Cake owner, Seoul Rice Seola Lee, Baltimore. central late 90sin largely inthe expanded community The Korean 1. Paper , June2, City City 2016 SCROLL 3 : ON SITE 49 1910 N. Charles Street’s formal name is the name formal Street’s N. Charles 1910 has building if the It is unconfirmed Plaza. Hyundai Korea’s Hyundai, one of connection to an actual of cars and exporters corporate importers biggest Kak has chef of Jong The former and electronics. on the BBQ restaurant opened a Korean recently building as well as a deli in the ground level of the has added another hand- storefront. The building a misprinted character, painted sign, containing to “C-Crown Seoul.” which roughly translates (Right) Mural and new signage for The Crown Seoul, a recently opened Korean restaurant. 50 SCROLL 3 : ON SITE 2016 editor of DJ Genie,withassistancefromLawrenceBurney, curated byBaltimore-basedartistAbduAliand Kahlon isanon-goingseriesofculturalevents fresh takeontraditionalshowcasing,”saysAbdu. colorful influxofmusicenthusiaststocultivatea artists withdistinctivestylesononestagetoa specific musiceventsandpresentsnewwave “Kahlon challengestheboundariesofgenre- Baltimore, aswellnationallyandinternationally. The Crownandcontinuouslyinvitesartistsfrom True Laurels True . Kahlontakesplaceat at Kahlon. Burney playing Lawrence Diamond Dixon. courtesy of (Bottom) Image Abdu Ali. DJ Genieand Abdu Ali. courtesy of (Top) Image

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K 52 SCROLL 3 : ON SITE 2016 and MICA/JHU [JohnsHopkinsUniversity]. value orthe benefit ofcommercialized institutions I justhopeit’s notatalimited capandfortheface right now, Idoseemorediversity inthefuture,but and notjustwhitepeople orMICAstudents.Asof Station Northbecomemore accessibletoeveryone Abdu Ali:Ihopetheinstitutionsand resourcesin Station North? Scroll: Whatareyourhopesforthefutureof community. transgender, queerorquestioning, intersex] womyn, andtheGLBTQI[gay, lesbian,bisexual, underrepresented inmusic:POC[peopleofcolor], progressive andbeneficialplatformforthose Abdu Ali:With Kahlon,Iwanttoelevate a on theBaltimorecommunity? Scroll: WhatimpactdoyouhopeKahlonwillhave founder ofKahlon Abdu Ali, at Kahlon. Abdu performing Dixon. of Diamond Image courtesy (Top) 2016 SCROLL 3 : ON SITE 53

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On Site On Scroll 3: Scroll 54 SCROLL 3 : ON SITE 2016 500 BlockofFranklin Street hubs inBaltimore forthepastdecade. made theH&Honeof the mostactivecreative music spaces,andevents likeTransmodern have Nudashank, thesemi-active WholeGallery, many thirty yearslater. GalleryFour, thenow-closed 1947, movingto405W. FranklinStreetalmost in legaldocuments)foundedtheoperation Rosenblatt andhispartnerHoward(leftunnamed first, andsecondfloorssince1973.J.Harold store thathasoccupiedthebuilding’s basement, name fromtheoutdoorsandmilitarysurplus nearly acenturyago,theH&Hnowborrows its building. BuiltastheSummitWaist Company almost aneighborhoodinitself,istheH&H in recentyears.Thelargestofthesebuildings, projects insideofhomesandlive/workspaces Hill havecarvedoutartist-rungalleriesand spaces inthedowntownneighborhoodofSeton Four in2000andNudashank2009,many Following theinceptionofprojectslikeGallery 2016 SCROLL 3 : ON SITE 55 Across the street, the group of storefronts along along of storefronts group the the street, Across now which Street, of Franklin block the 500 mostly project spaces, as galleries and function other churches, but as salons and hold histories as up intermittently have popped unique projects and personal a bookstore by Wendell, well: Words Street; Carly Franklin at 512 W. stationery shop, W. 508 Hypnotherapy office at Integration Ptak’s Franklin DBS Printing at 510 W. Franklin Street; and these spaces are defined by their Street. Many of brief durations creating programming for brevity, hands between artists and and then changing opened Phoebe Projects, for curators. The newly its inaugural exhibition just example, which hosted subtly nod to the uses its name to this past January, space, Freddy previous gallery occupants of the and sophiajacob. (Right) Images courtesy of Carly Ptak. Photographs of Integration Hypnotherapy at 508 Franklin (now Rope). 56 SCROLL 3 : ON SITE 2016 502 W. Franklin Street 500 W. Franklin Street 2 1 405 W. Franklin Street 3 2 1 Building History 2 1 6 5 4 3 Building History Building History First Continent A Perfect10HairSalon Gallery TheWhole Nudashank GalleryFour ClassicPup H&HOutdoors Summit Waist Company SpringsteenGallery PurposedMinistries IllusionsBarberShop (Springsteen). Amelia Szpiech tinent), and (First Con- Nate Grossman (Nudashank), Alex Ebstein courtesy of Images (Top toBottom) 2016 SCROLL 3 : ON SITE 57 58 SCROLL 3 : ON SITE 2016 508 W. Franklin Street 512 W. Franklin Street 510 W. Franklin Street 2 1 Building History 4 3 4 3 2 1 4 3 2 1 Building History Building History Rope Franklin Street IntegrationHypnotherapy T-ShirtShop PhoebeProjects Freddy Gallery sophiajacob DBSPrintingShop OpenSpace Rock512Devil Wordsby Wendell BaltimoreFree School (Open Space). Alexander Projects), Colin (Phoebe Alex Ebstein Booth (Rope), of Stephen courtesy Images (Top tobottom) 2016 SCROLL 3 : ON SITE 59 60 SCROLL 3 : ON SITE 2016 many ofwhom arefemale. small wayby exhibitingworkbyartists thatImostadmire, women internationally, and Iamhappytocontributeinsome represented. Inequalityis anissuethatisbeingtackledby [including] venuesandprizes inwhichwomenarenotequally and curator, butevenso,it hasitsshareofproblems It isanexcellentandexcitingplacetobeafemale artist visible andactiveinthedirectorialrolesofart community. Alex Ebstein:Baltimoreisaplacewherewomenarevery world ingeneral? on femalerepresentationinBaltimore’s artsceneorinthe entirely, onfemale-identifyingartists.Whatareyouropinions Scroll: Phoebe’s programmingseemstofocusheavily, ifnot space andaddingtoitshistory. and thesensitivitiesofdifferentcuratorstakingoversame I thinkthereisalotofroomfordifferentcuratorialvisions programming oftheotherspacesandwasgenerallyafan. Alex Ebstein:No,butIattendedtheexhibitionsand How didyoustartplanningoutyourcuratorialpractice? owners (Freddy, sophiajacob)aboutPhoebeProjects? Scroll: Didyouhaveconversationswithpreviousspace that wereappropriatelynicheandbroad. ornithological; itseemedtoencompassasetofreferences household associationaswellmythologicaland after peopleorhumannames.Phoebehasapop-cultural the spacewhichhasexclusivelyhousedgalleriesnamed Alex Ebstein:ThenamePhoebeupholdsthetraditionof Scroll: How did you come up with the name Phoebe Projects? founder ofPhoebeProjects Alex Ebstein,

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On Site On Scroll 3: Scroll 62 SCROLL 3 : ON SITE 2016 of popularwritten newsmediumsinBaltimore suchasthe segregated? To start,wecan lookathistorythroughthelens mean toexaminethecultural historyandspacesofacityso next. Thisnotionleadsme tothequestion:whatdoesit values thatarepassedalong fromonegenerationtothe group ofpeople,whichincludesbehaviors,beliefs, and Culture canbecharacterizedasawayoflifefor a particular specific culture. on mychildhood,Irealizedthathadbeenraised inavery neighborhoods inthecitywereidentical.Afterlooking back For me,growingupinBaltimoreCity, itappearedasifall familiar withothercommunitiesdirectlysurrounding me. man underthislandscapemadeitreallydifficult to become and causingirreparablebraindamage.Livingasayoung outside withamonstercalledleadpaint,poisoningchildren matters worse,ourhomeswerepaintedontheinsideand issues withroaches,mice,andbackyardsfullofrats.To make children andfamiliestoreside.Countlesshomeshadhorrible have beencondemned,astheywerenottrulysuitablefor of thehomeswerewelltakencareof,manythemshould of buildings,rowafterhouses,andalthoughsome with individualswholookedlikeme.Mycommunityconsisted sheltered fromotherculturesandspentmostofmychildhood challenging and exciting. As a young person, I was somewhat Growing upinEastBaltimorehasbeen,manyways,both demographics ofthatarea. part ofacityyoucomefrom,includingthecultureand to opportunityandresourcesisgreatlycontingentonwhat be paradiseorpurgatory. Likemanyurbancities,proximity “depending onwhereyou’re from”becausethatbubblecan really easytobecomecomfortablewithinyourbubble.Isay Living inBaltimore,dependingonwhereyou’refrom,itcanbe Brandon Buckson Sight Specifics Baltimore Sun, City Paper Paper City Sun, Baltimore and Bmore Art Bmore . Duringthe research

2016 SCROLL 3 : ON SITE 63 for history, for history, Afro-American Newspapers process for this publication, we discovered that when it we discovered for this publication, process coverage heavily local press and art in Baltimore, comes to curators, and close community of artists, focus on Baltimore's culture we continued to research the art professionals. As the reflection my inquires shifted towards in Baltimore City, specific reviewed art in Baltimore. We of African-American the publications like not African-American specific, but simply including African- specific, but simply including not African-American history. in the dialogue of the city's American art or artists see less become more gentrified, we As neighborhoods down of culture from and less of a traditional passing like Highlandtown, one generation to the next. Areas Hill, and Canton reflect East Baltimore, Hampden, Cherry are predominantly questionable urban planning and For institutions in the city comprised of one ethnic population. it is an operational like Johns Hopkins, MICA, and Peabody, comfortable living spaces necessity to create housing and New residents to the city for the people who support them. and at the its history, means rediscovery of the city and and repurposing of moment we are seeing lots of turnover have like North Avenue city areas and architecture. Areas two decades, re-emerging made 180 degree turns in the past like the Middle East as thriving arts districts, and areas of Iraq circa ’05 to an have gone from a scene reminiscent $43 million dollar facility emerging business area with a new East Baltimore in 20 years. acting as the first new school in I was about fourteen years old when I left 817 Kinwood which was one of the most for 925 Kinwat Avenue, Avenue I distinctly memorable times of my life I can remember. remember my mother often being in conflict with herself and her friends. It wasn't until I was older that I realized she was dealing with a sort of social stigma attached to leaving the 64 SCROLL 3 : ON SITE 2016 2016 SCROLL 3 : ON SITE 65 neighborhood that she grew up. I was able to take what take what able to up. I was grew that she neighborhood was what I against it and juxtapose to accustomed I was inner city culture time. Observing for the first encountering for me to the same time allowed culture at and suburban critical eye. Being observe with a and to see the differences from it made me cultured away inner city and also from the from an educated As an African-American male an anomaly. for young men particularly an ideal mentor, background, I was initiatives well as an ideal candidate for diversity as of color, to be It can be a daunting task and leadership programs. age, for your race at such a young seen as the ambassador particularly the culture you represent isn’t especially when valued by your audience. destitute African-American Baltimore, specifically its Recently, spotlight. Despite the communities, have been in the national 64% of the population fact that Baltimore is a city in which it is so difficult to find is African-American, it is ironic that and covered in local ethnic events and history showcased African-American publications. From what I've observed, on an almost obligatory culture in Baltimore City is dealt with City is of commercial basis. The current climate of Baltimore here, untapped in the form potential; there is so much money important resources like of space, culture, and proximity to transportation and healthcare. 66 SCROLL 3 : ON SITE 2016 Jeffrey Kent Jazmin Smith James Singewald Howard Yang First Continent Emily Rafferty Emilia Pennanen Eli Pousson EMP Collective Diamond Dixon Doreen Bolger Craig Hankin City Paper Colin Alexander Carly Ptak Brett Barthlow Brenda Edelson The BMA Bill Tata The BaltimoreSun Baltimore Heritage Balti Gurls Barker French Anna Fitzgerald Alex Martick Alex Ebstein Alexandra Deutsch Newspapers Afro-American Abdu Ali Dom, andErica. Ginevra, Lu,Lee, & especiallyDeana, Springsteen Gallery Sherwin Mark Sarah Doherty Ryan Stevenson Rope Rashid Belt Peggy Chiang Patricia Kendall Open Space Olivia Obineme Milly Vanderwood Max Guy Max Anderson Mara Neimanis Lily Clark Lee Heinemann Kimi Hanauer Kim King Joshua Abelow Joseph Shaikewitz Jim French Jim Adajian Jerrell Gibbs Jenny Ferretti 2016 SCROLL 3 : ON SITE 67 Director Deana Haggag is a testament , would be possible Scroll Scroll Director’s Letter Letter Director’s is so meaningful for us. It feels like a natural extension is so meaningful for us. It feels like a natural Scroll is seemingly about many things. First, it is about the making First, it is about the about many things. is seemingly Scroll 3: On Site and closing of art spaces and the specific conditions in which that occurs. It is in which that occurs. the specific conditions of art spaces and and closing car many decades, realizing spaces over the evolution of commercial also about ideals of testaments to the sports bars as faint department stores, and factories, process Brandon, and May’s after watching Allie, at those times. And, our society realized that this third iteration of I’ve over this past year, of the work we do regularly while also operating as an advocacy piece for the folks of the work we do regularly while also operating are so indebted to these arts spaces. managing arts spaces against all odds. We our work and advanced the field in ways They have created a viable landscape for own. institutions could never have done on their and dozens of case studies to produce It should be known that it took many months these pages. Allie, Brandon, and May the final eight that are neatly published in immerse themselves in their histories. Their worked tirelessly to scout buildings and and meetings. Thus, I want to send research required endless phone calls, emails, groups listed in the thank you page— we my extreme gratitude to the individuals and for all that you have done to literally make appreciate you sharing your stories and generative in so many magical ways. space for the arts in Baltimore. It has been and organizations that have invested I also want to acknowledge the landlords Partnership of Baltimore, and the so lovingly into the arts: BARCO, Downtown is not advocacy for this community Management French Companies. Your Towner you, and please keep it up! unnoticed—thank you, thank you, thank work relies on the collective of The Contemporary’s stress enough how much I can’t least of all efforts of our team—literally none of this, to the power of storytelling. This publication is about knowing that there aren’t that there aren’t This publication is about knowing to the power of storytelling. in the world to clippings, and microfiche pages enough websites, newspaper that an history of any given thing. It is about understanding properly convey the it, leaving much as the voices that were able to author archive is only as complete bias. It is about riddled with social, economic, and racial of our recorded memory risk losing them stories need to be documented or we confirming that people’s forever. across the various our research is forced to turn outward As a nomadic museum, It learn from daily. utilize for projects and the arts spaces we sites in Baltimore we is why this edition of without the efforts of Dominiece Johnson, Ginevra Shay, Lee Heinemann, and Ginevra Shay, without the efforts of Dominiece Johnson, one of our incredible volunteers, for her Lu Zhang. I want to thank Erica Goebel, flawless editorial eye, endless wisdom, and generosity of spirit. I also want to plug our Board because if any Board deserves to be plugged it is most certainly this one: thank you for always having our back and for supporting this program and these They are I tip my hat to Allie, Brandon, and May. interns without question. And, finally, nation, and the kind of compassionate producers and deep listeners that our city, Thank you for filling our office with so many incredible world really need right now. stories. Great work!