cyclotram

Next mural up is the Belmont Rotating Mural, which is basically the garage of someone's house on SE Belmont near 32nd which gets repainted by different mural artists every so often. These are rather old photos and I'm positive it doesn't look like this anymore. The PDX Street Art page (1st link) has a few photos of it as it's changed over time.

Next mural up is a fading one at SE 30th & Belmont, on the same building as the Peace Mural we visited some months ago. A 1999 issue of CultureWork (a University of Oregon arts publication) mentions it:

One of my favorite murals in Portland is the 1,725 sq.ft. "Rediscovering Belmont" mural on the Futon Factory at SE 30th and Belmont Streets. I'm always engaged by it every time I walk or drive by. It took five months to organize, two weeks to paint, and involved over 100 neighborhood volunteers, including schools, neighbors, and local businesses. If you read the attached plaque you'll see that it was sponsored and supported by the Sunnyside Neighborhood Association, AmeriCorps Members for Neighborhood Safety, Southeast Uplift Neighborhood Program, the Regional Arts and Culture Council, and supported by the Multnomah County District Attorney's Office, Bitar Brothers, Corp. and the city's Graffiti Abatement Project.

Much of the rest of the article is devoted to lamenting the art vs. billboards legal battle that put nearly all murals on hold in Portland in the late 1990s and early 2000s. I've discussed that a few times before, most recently in another post earlier today. So I won't go into that again here.

Next up, we're visiting the Peace Mural at SE 30th & Belmont, outside Two Rivers Aikikai (an aikido studio). This was created by artist Christa Grimm; her website has a copyright notice of 2012, but I'm not sure whether that's for the mural or the website itself.

The next mural up is at SE 23rd & Belmont, on the same warehouse building as The Fall. This one's on the opposite (west) side of the building, facing the La Calaca Comelona restaurant. I didn't see a signature on this one and I don't really know anything about it.

The next mural up is another Forest tor the Trees one, located on SE Belmont just east of 34th, at the far end of a parking lot facing Belmont. This was painted by The Lost Cause for last year's edition of the Forest for the Trees festival. The 2015 edition is coming up in a few weeks, with a whole new batch of murals to cover. I still have several unfinished posts about previous years' murals sitting around in Drafts. Hopefully I'll have those done & dusted before the new batch arrives, but you never know.

The next mural up is this crowd of space pigs in front of the Adorn tattoo place in the 2500 block of SE Belmont. I ran across this one in an early 2013 post at Kay-Kay's Bird Club, although the design's been changed out since then.

The next stop on the mural tour is at SE 9th & Belmont, where this faded picture of Mt. Hood graces a vacant auto shop building. It's painted on panels instead of directly on the wall, and at least one of the panels has gone missing in the last year or so. I kind of suspect this whole block will be torn out in the near future, and replaced by another cookie-cutter apartment block, with an artisanal goat yoga studio on the ground floor. I suspect that because it's what always happens.

The next mural up is a very large nature scene on one side of the Walgreens store at SE Chavez (39th) & Belmont. I haven't been able to find out a lot about this one. I ran across it on a Kay's Bird Club post and went to check it out. A post about it at the short-lived, erstwhile PDX Murals blog (which was only active for 2 months in 2007) tells us it's been there since at least 2007, but I don't know exactly when it was created or by whom. The store itself dates to some time in the 1990s (at least according to a Vintage Portland comment thread about the 39th & Belmont intersection), so that gives us a rough time window, at least.

A Tumblr called "Art Wall of Shame" ranted about this mural a couple of years ago, invoking both Thomas Kinkade and Bob Ross. Which, I dunno... I mean, nobody goes to a Tumblr called "Art Wall of Shame" looking for nuanced art criticism, but that's just plain cruel, that is.

The mural tour pays another stop in inner SE Portland, this time at the Gilbertson Machine Shop at SE 8th & Belmont, where a large mural shows a collection of classic American cars. Unlike a lot of murals done for businesses this is actually signed by the artist, but it's done in traditional graffiti style and I can't make out the name. Google's no help either in this case, so I can't tell you who did it, much less link to their Tumblr blog or Facebook page, or LinkedIn profile I guess. I've seen an increasing trend of artists including an URL or Twitter handle along with a signature. I'd like to encourage more people to do that, if for no other reason than making my job here a little easier.

I'm sure my dad would be able to identify all the cars on the mural, but I can only pick out a few: Model T hot rod, VW Bug hot rod, a mid-60s Corvette, maybe a 1959 Cadillac next to the Vette (though I could be wrong about that one). And what looks like a mid-1960s Lotus F1 car on top. The others I'm not sure about.

It's been a few weeks since the last painted intersection I covered here. At this point I've done most of the ones I know about, and the others are sort of inconveniently scattered around the city, so the rest are likely to trickle out as I get around to visiting them. Today's installment is The Big Bang of Peace, at N. Borthwick and Killingsworth Ct., just west of Jefferson High School. A May 2014 Skanner article describes the project, as well as the Unity Circle intersection east of the school:

The Big Bang of Peace was started with the support of STRYVE, a federal violence prevention initiative. STRYVE (Striving to Reduce Youth Violence Everywhere), which is run through Multnomah County Health Department, is sponsoring a range of projects this summer that will bring adults and youth together with the aim of building a stronger, safer community.

The Killingsworth Court intersection was chosen because of its location, bordered by Rosemary Anderson High School, Piedmont Church of Christ and the North Star Ballroom, with Jefferson High School just a block away. Church leaders have welcomed the project and are helping coordinate about 20 students and neighborhood residents, as they turn an intersection that has seen too much conflict into a place for gathering and friendship.

Youth involved in the project envisioned a design that features a tree whose roots extend into neighboring streets. The design also includes a honeybee theme because honey is known to increase immunity.

A July Oregonian article includes a short video of this year's repainting. The media coverage highlights something positive I've been noticing about intersection painting projects: They really are an expression of their surrounding neighborhoods, and it's not always the same people creating them. Sometimes it's hippies, as with the famous sunflower just off SE Belmont. Others, like the pair of intersections on NE Beech at 12th and 13th, are driven by hard-charging neighborhood activists and have a long roster of commercial sponsors. And this one was driven by the neighborhood's African-American community, without a single hippie or hipster in sight.

In Portland it would be very easy to end up with a top-down citywide nonprofit running the show, with paid staffers and well-placed friends at City Hall, going to and fro bestowing the fruits of hipsterdom and gentrification upon trendy neighborhoods across the city, and it would just be one salmon/pugs/yoga/crystals design after another, everywhere. I'm pretty sure that would be the path of least resistance, in fact, and I'm impressed (amazed, even) that it's managed to remain a grassroots phenomenon as it's grown and spread across town.

A photoset from Portland's Colonel Summers Park & Community Garden, at SE 17th & Taylor. I've gotten into the habit of saying I don't bother with neighborhood parks like this, where most of the park is devoted to ball fields and play equipment. But the community garden is fairly photogenic, and there's a little history to pass along, so I'm going to make yet another exception, like I did for Irving and Sewallcrest Parks earlier. Before we get to the history bit, some info about the park's standard-issue features, since those are what almost all visitors who aren't me come here for. The park includes basketball and tennis courts, a baseball diamond, and a covered picnic area. It formerly offered a wading pool for kids, but like the ones in other parks around town it was permanently closed in 2010 due to state health regulations. There's a neighborhood campaign to build a splash pad to replace the old pool.

Because this is the middle of a very hip part of town, it also attracts things like adult dodgeball, bike polo, and assorted as-seen-in-Portlandia activities. Years ago, coworkers and I used to come here on Friday afternoons and hit a volleyball around, which is one sorta-sport that hipsters still haven't discovered somehow. It was fun, but you had to watch out because dog owners weren't always that meticulous about cleaning up after their pets, and there was always a chance of finding a little grenade lurking in the grass if you weren't careful. Ah, memories.

As this is inner SE Portland, the park has also hosted Food Not Bombs and Occupy Portland events in recent years.

The southwest corner of the park contains a small memorial to the park's namesake, Col. Owen Summers. He was widely regarded as the "Father of the Oregon National Guard" (even our National Guard says so), and he was best known for his service with the 2nd Oregon Volunteers in the Spanish-American War. The same obscure conflict memorialized by two memorials in Lownsdale Square, another in Waterfront Park, yet another in Lone Fir Cemetery (though it's primarily a Civil War memorial), and probably others elsewhere. That war was an ugly episode in our national history, and it's kind of embarrassing that Portland built monuments to it all over town.

Summers himself was said to be a decent guy, and the Oregon volunteers came home before the guerrilla war in the Philippines got going in earnest. Still, I'd be perfectly happy with renaming the place back to "Belmont Park", which is what it was called until renamed in 1938 in a fit of patriotic fervor, for the war's 40th anniversary. The park was rededicated on September 13th, 1938, as part of the city's war anniversary festivities. The Battleship Oregon opened at its "permanent" waterfront home the same day. Although that turned out to be far from permanent, thanks in large part to the day's top news story, the infamous Munich Agreement that enabled Nazi Germany to annex the Sudetenland region of Czechoslovakia. The juxtaposition of the two stories is kind of mind-boggling. In any case, page 7 of the paper was a full page of Spanish War festivities photos, including one showing the dedication of the Summers memorial plaque. A page 5 story covered the dedication in more detail. As far as I can determine, Summers had no connection to this particular spot, and it's not clear why the city selected this park to name after him rather than one of the others around town.

I can't tell you a lot about the memorial plaque itself. The inscription says it was created by someone named Daniel Powell, but I can't find much in the way of info about him. The Smithsonian art inventory mentions one work by someone named Daniel Powell, located at Bok Gardens in Lake Wales, FL, co-credited with 15 other artists. I don't know if it's him, but the dates are potentially correct. A history page for the Oregon Society of Artists lists him as the organization's president from 1942-44, and describes him as "High school teacher. Sculptor, sketch artist." An April 14th, 1945 Oregonian article on the Society's Spring Art Show mentions him:

This year the society, in addition to showing paintings, drawings, and small sculptures, will exhibit two sculptures of heroic size, one of Gen. Douglas MacArthur, and one of Gen. Dwight D. Eisenhower, completed in the Sabin high school art classes under the direction of Daniel Powell, society member who is art instructor at that school.

At the corner of 35th & Belmont, in inner SE Portland, is an old historic fire station that now serves as a firefighting museum. On the streetcorner in front of the museum is this monumentally craptacular statue called "Strength of America", which is supposed to be a 9/11 memorial. You didn't realize we already had one of those, did you?

As a nation we’ll look back on our response to 9/11 in a decade with chagrin, I expect. So many decisions made from fear instead of facts; and some of these were aesthetic as well.

This Doc Savage mock up has his hands full, holding an enormous snake with one hand, and a kerosene lamp in the other. Adjoining him is a US flag and an eagle, wings out swept. For some reason he is shirtless, dressed in jeans and tiny work boots. Surrounding the base are roughed Plexi blocks with names of people killed on 9/11, and the lord’s prayer written in childish script and signed by Caswell.

It’s a blink and a silent WTF? Damn, you’ll say, that’s incongruous for Sunnyside. Then you’ll shift it into the context of 9/11 and list it within that long list of other bad decisions our nation made afterward, we as individuals made.

One quick quibble with that: The words in childish script are actually not the Lord's Prayer, they're lyrics to "God Bless America". You know, the song Kate Smith used to sing before every Flyers riot, er, game.

Nitpicking aside, it really is a very weird statue. Note how it entertains fanciful notions about male anatomy. Look at that moobage, with man-nipples an inch or so too low. And the abs, which stretch all the way up to the moobage, with no intervening rib cage or anything. And the hands, oddly long and skinny fingers all about the same length.

The snake's cool though. I think the snake's supposed to symbolize the Evildoers, slithering about and deviously doing evil with their Weapons of Mass Constriction. Or something. Whatever it represents, the man-n-snake combo invites comparison with other person-n-snake-themed artworks down through the ages -- "Laocoön and His Sons", for example, and who can forget the famous Nastassja Kinski photo with the python?.

The eagle's not terrible either, although it's kind of smiling, which is weird. And it's stealing our hero's flag, which eagles aren't known to do in the wild. Maybe if you took the flag, dunked it in fish innards, and wrapped it around a live salmon, then eagles might take a professional interest. Although then you've defiled the flag and you're supposed to burn it, because them's the rules, fish innards and all, and that would really smell. So let's just agree that the bit with the eagle isn't modeled on real life.

Call me a minimalist if you like, but all in all I think the memorial would've been more effective with just the rubble and the fire helmet, and maybe the tablets with the names.

One thing that surprised me is the size of the thing. The photos I saw made it look bigger than it actually is. In reality it's only maybe 2/3 or 3/4 life size, if that, and like all the other photos I've seen of it, my photos fail to convey this small scale. I'm actually kind of disappointed by the whole thing. With subject matter like this, you naturally expect something a bit more imposing. If the scale matched the sheer melodrama of the thing, our hero here ought to be Paul Bunyan's big brother, and the flag-thieving eagle should be about pterodactyl-sized, and the whole thing would constantly play patriotic country-western songs at 120 decibels. Except on Sundays, obviously.

• If a statue is painted, it's Bad Art. It's a sign the sculptor wasn't talented enough to get the point across with mere sculpture, and had to layer on a little paint-by-numbers to make the thing work.
• If it's a grouping with more than one person, it's often a sign of badness. In particular, if there are more people than strictly necessary, two or six when one would've done just fine, it indicates the artist doesn't know when to stop piling it on. Also, if people are depicted talking or looking at each other, that's surprisingly hard to get right. They tend to come out looking like brainless idiots, badly sculpted. Whereas if your people are working together (say, raising the flag over Iwo Jima) or just standing in a group (say, riding an elevator), often that can be fine.
• A similar situation applies when there's at least one person, plus one or more animals. Equestrian statues are an exception; they're a traditional form, and they can turn out ok. I suppose because the rider isn't typically interacting with the horse.
• It's also generally bad if one or more children is present, regardless of whatever else is there. Sculptures of children tend to turn out looking kind of weird and creepy, especially if they're smiling. Almost as creepy as 19th century painted portraits of kids, come to think of it.
• If any books are present, and their titles are visible, typically it's bad art. If you're meant to see the books (Bible, Das Kapital, Kerouac, etc.), a heavy-handed message is usually intended, and the artist wasn't able to make the art speak for itself.
• Similarly, if the art comes with a long explanatory plaque or artist's statement, it's usually bad. The art should either speak for itself, or STFU.
• If the artist bungles basic human anatomy, it's automatically bad, even if none of the other guidelines are met.
• If the art dates from before, oh.... say 1800 or so, it gets a free pass, as the product of another culture and another age.

The 1800 cutoff is needed because as it turns out, the aforementioned "Laocoön" clearly breaks the multiple-person and person-and-animal rules, and it's long been speculated that the ancient Greeks painted their statues, which would break another rule. And the two sons, well, they look maybe old enough to escape the no-kids rule. At least nobody's carrying any books. So, in short, make of these guidelines what you will.

Some people might go, wait a minute, the last time you really bashed something for being Bad Art was "The Promised Land" (the crappy pioneer sculpture in the Plaza Blocks), and like "Strength of America" it's conservative Bad Art. Isn't this Good vs. Bad yardstick just your ideological biases showing? Actually no, that's not it. Or that's not completely it anyway. I do have another Bad Art post in the works, this time about a local example of liberal bad art that just might be the most supremely craptastic statue of them all. Here in town, I mean. Any guesses?