NEWS & NOTES

Watching (and talking) movies in McMinnville

Local filmmakers involved with the McMinnville Short Film Festival discuss the role of video stores, film festivals, and "This Is Spinal Tap" in their work

The 8th Annual McMinnville Short Film Festival was too big a meal to consume entirely last weekend, but I did get to a screening in the largest auditorium at Coming Attractions’ multiplex, which was pretty full Sunday afternoon. Between that and watching a few online, I caught about 15 of the record 50 films shown over two days. Only a few left me cold; most films — none longer than 20 minutes and many no more than 10 — were very good, and a few were excellent.

A complete list of this year’s films, nominations and winners can be found
here.

Festival organizers Dan and Nancy Morrow are friends, but I feel like I’m on solid ground in saying that the McMinnville Short Film Festival is a polished affair, organized by serious film-lovers who know what they’re doing. I hadn’t attended a film festival before (having a kid puts a damper on extracurricular stuff like that), but I was impressed with both the quality of the work on the screen and the informal, yet professional presentation. It is also encouraging to see a mainstream movie theater chain (Southern Oregon-based Coming Attractions, which runs many small-town theaters in Oregon and several other states) work with locals like this, handing over its largest screen for two days for a homegrown show. I hope to scoop up a bigger helping in 2020.

One of the weekend’s big crowd-pleasers was Sac de Merde. A barely 14-minute comedy about a young New York woman’s dating woes, it includes what is possibly the funniest and most outrageous sex scene I’ve ever seen in a film. Sac de Merde came from California, directed by Greg Chwerchak of Los Angeles. The film was nominated in five categories and received the festival’s top honor, the Grand Jury award, along with awards for directing and original short story, which was written by the trio of Chwerchak, Arielle Haller-Silverstone (who was also nominated for her acting in the film), and Gabrielle Berberich.

Arielle Haller-Silverstone was nominated for a Best Actress award for her work in the McMinnville audience favorite, “Sac de Merde,” which she also co-wrote.

He Calls Them All By Name, directed by Chad Sogas (who splits his time between Portland and Brooklyn, N.Y.) also impressed this year’s judges, garnering six nominations and winning in four categories, including: Best Actor (Ted Rooney), Best Sound Mixing (Noah Woodburn) and Best Editing (Katie Turinski). (The festival named two Best Actors; the second was Moussa Sylla in La Rage.)

Sogas’ film is an eerie piece centered on an intense confrontation between a tenant farmer and his drunk, gun-toting neighbor. Shot entirely outdoors at night, it was inspired in part by Flannery O’Connor’s Southern gothic short stories and films such as In Cold Blood and A Face in the Crowd. The story is pretty thin gruel that falls just short of being a complete enigma, but it clearly spoke to the political unease of the times. The technical skill on display, direction, and acting were outstanding. Greg Schmitt’s cinematography was extraordinary, and the film deservedly won for that as well.

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Oregon College of Art and Craft terminates its degree program

The future of Oregon College of Art and Craft is in doubt as its board decides to shut down its degree program

The Oregon College of Art and Craft board of trustees has announced it will “terminate all degree programs” at the college at the end of this academic term. “May 19, 2019, will mark the commencement ceremony for the final graduating at OCAC,” according to a statement released by the college.

The college has hired a commercial real estate broker to begin the process of selling the 8.6 acre campus on Southwest Barnes Road, which is valued at $13,840,620 according to its Washington County Tax Assessment. But the board is still “actively considering” various alternatives for the organization going forward, including selling the campus, leasing it back and continuing its legacy of craft education that goes back to 1907. Those alternatives, however, won’t include a future as a degree-granting arts college.

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PNCA: Sticking to the path

Pacific Northwest College of Art decided merging with OCAC was a detour away from its future

Two big questions remain from the failed merger talks between Pacific Northwest College of Art and Oregon College of Art and Craft back in the fall.

The first: What are the details of the financial condition at OCAC that led it to seek merger and/or acquisition deals—with PNCA and then Portland State University—in the first place? Until OCAC talks publicly about that one, we’re left with speculations, informed and otherwise. That’s not the question I’m going to try to answer here.

The second: Why did PNCA decide against the idea of a merger with OCAC? After talking to President Don Tuski at PNCA, I think the answer has less to do with OCAC’s balance sheet and more to do with the future PNCA is attempting to carve out for itself.

Interior of the renovated the Arlene and Harold Schnitzer Center for Art and Design at Pacific Northwest College of Art/Courtesy PNCA

That future is extremely important to Portland’s creative economy, which is itself increasingly crucial to the economic health of the city. I’m persuaded after talking with Tuski, that, while the general direction of PNCA’s path isn’t new, its dedication to staying on that path is. And that path does not include a detour through the difficult process of merging with OCAC.

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Portland State will not acquire Oregon College of Art and Craft

After testing the feasibility of swallowing OCAC, PSU declines to move forward

After a week of thinking about it—or in the business parlance of our times, after conducting a “feasibility study” or “due diligence”—Portland State University officials informed Oregon College of Art and Craft officials on Thursday (January 24) that the university had decided against acquiring the college and its bucolic acres on Southwest Barnes Road.

That was some pretty fast due diligence (or at least “official” due diligence), because the university publicly announced its interest in OCAC only on January 17. (For those coming to the story late, the arts and crafts college’s discussions with Pacific Northwest College of Art about a possible merger concluded in mid-December without a deal.)


Outside the kiln at Oregon College of Art and Craft/Photo courtesy of OCAC

The key paragraph of the PSU statement, attributed to PSU president Rahmat Shoureshi: “We explored this because we were excited about the potential opportunity that an acquisition would honor the legacy of art and craft at OCAC, support the arts in our region and bolster our own College of the Arts. But our study of different acquisition scenarios, including those involving private philanthropy, showed the potential costs would be too high for PSU.”

I reached out to OCAC to find out the college’s view of PSU’s decision and how the art college might proceed from here. I haven’t received a response from OCAC yet (after holding this story for a couple of days), so perhaps they are still pondering.

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OregonLive’s Jeff Manning has been the chief media contact for PSU in this matter, and he might have phoned in a story with just that information—”no deal because acquisition costs were too high.” But Manning is an excellent reporter, and he didn’t get that way by phoning in stories. So he continued reporting and answered some questions at both ends of the core information: how the idea came up in the first place and what a possible resolution might look like going forward.

The idea came from developer Jordan Schnitzer, who gave PSU $5 million to start a campus art museum in 7,500 square feet over two floors of Neuberger Hall last spring. According to Manning, Schnitzer encouraged Shoureshi to pursue the acquisition of the college, but Shoureshi’s statement indicates that the philanthropic dollars weren’t there to shoulder the costs of absorbing OCAC (or maintaining it going forward), from Schnitzer or anyone else PSU checked in with. (Which would be an interesting thing to know—how extensive WAS PSU’s search for money to acquire OCAC?)

At the other end of the story, Manning revealed that Portland developers Jim Winkler (whose son sits on the OCAC board) and Bob Niehaus had offered to buy the property and lease it back to the school. “A sale-leaseback would give them some time to get their act together,” Winkler told Manning.

I reached out to Winkler for confirmation and elaboration. “I made an offer to purchase and lease back the OCAC campus to the school in order to give the school a longer runway to work out the terms of a merger,” he responded. “My objective was to help the school by providing it a patient and interested landlord. The offer included a right of repurchase by the school. I am deeply saddened by the potential loss of another important arts institution in our community.” He also said that OCAC hadn’t responded to his offer (as of Monday).

The campus is a considerable asset. The college has listed the campus as worth around $10 million on its federal 990 forms, though the Washington County tax assessment for the property is $13,840,620: $5,087,810 for the land and $8,752,810 for the buildings. These days, those assessments seem to run a little on the light side, because real estate values generally are going up.

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In his story, Manning speculates that OCAC could be near the end as a functioning college: “The school has struggled financially, and it’s unclear how long it can continue to operate,” he writes.

I don’t think we have a clear picture of OCAC’s finances, because OCAC hasn’t revealed anything about its financial condition or why it has been pursuing various merger and acquisition scenarios. Therefore, we don’t know to what degree it has “struggled financially.” Most Oregon arts organizations in the state “struggle financially” to one degree or another, of course, but unlike most Oregon arts organizations, OCAC owns a valuable piece of real estate. It also is supported by the Oregon College of Art and Craft Foundation, which had net assets of $1,930,700 at the end of its 2015-16 fiscal year, according to its federal 990 form that year, the last one available to me.

In his first story announcing that PSU was considering the acquisition of OCAC, Manning painted a dark picture of OCAC’s finances: A 2017 budget deficit of $685,649 with a large debt of $1.5 million coming due. But it’s common for companies of all sorts, even nonprofits, to spend more money in a year than they will make in order to invest in revenue-building activities. So, it’s entirely possible, even likely, that in 2017 OCAC invested money in a plan to build enrollment numbers, say, by developing new programs or increasing its recruiting efforts. The deficit number without the context doesn’t really mean much, especially since the OCAC foundation had sufficient funds to cover the shortfall. The same with the loan: It’s also possible, even likely, that the payment on the loan has been forgiven in the past and that OCAC expects whoever holds that note to continue the practice.

Inside the 2017 BFA Thesis Show at OCAC./Photo by Beth Conyers

The reason I’m proposing “even likely” is simply because former OCAC president Denise Mullen, who left the college in September citing personal reasons, has a reputation as a careful administrator, and I doubt that she’d run an unplanned deficit that large with an imminent debt payment of that magnitude. At this point neither Mullen nor OCAC is talking for the record about these matters, so this is speculation on my part.

So, until OCAC talks more about its financial situation, we simply don’t know how close to the edge it is. Manning covers that for journalistic purposes with his “it’s unclear” construction, but the overall impression he leaves through the two stories is that OCAC’s situation is dire. Which it might be—we just don’t have enough information to know. And we don’t know how palatable to OCAC the offer from Winkler and Niehaus might be, just that they haven’t responded so far.

*****

In my first story about OCAC’s search for partners, I talked a little about why I thought the cultural fit with PNCA was, at the very least, problematic. Still, PNCA and OCAC are both small, independent art schools. They are a little like Portland and Seattle, different in some ways but more similar to each other than they are to most other cities. PSU is the “other cities” in this simile. It’s hard for me to imagine a PSU acquisition scenario that would have preserved any of the DNA of OCAC, in which case the last of Portland’s major design institutions might well have disappeared inside a much larger institution with different ideas about arts education.

DramaWatch: a new place to play

Lewis & Clark prof Stepan Simek opens a small, flexible studio space. Plus: Openings around town and in Fertile Ground.

Stepan Simek is a professor of theater at Lewis & Clark College, a director, and an accomplished theatrical adapter and translator. Now he’s also a real estate developer.

Well, in a manner of speaking. Simek recently opened a small studio space for “actors, directors, musicians, singers, teachers, coaches, and anybody who may need a beautiful, affordable, flexible, and warm place to rehearse, teach classes, do small performances, concerts, readings, meetings, pop-ups, auditions, and whatever else may strike your creative need or fancy.” Or, as he put it during an open-house event earlier this month, “Everything is allowed, except amplified music and Bible study.”

The 2509 is a new studio space in Northeast Portland, open for rehearsals, performances and other creative uses. Photo: courtesy of Stepan Simek.

The place, a handsome 600-square-foot daylight basement, is named after its street address, 2509 NE Clackamas St., in a part of Portland known as Sullivan’s Gulch. Simek hopes it will help, in whatever small way, with the general space crunch afflicting so many Portland artists. But that wasn’t the project’s original purpose.

At first, Simek was setting out to repair his house’s crumbling foundation, which would require raising it on jacks. He and his wife Esther Saulle-Simek, a musician, decided to have a lower-level addition built as an apartment, or what’s known these days as an “accessory dwelling unit.” But the construction process turned out to be more than twice as long, and more than twice as expensive, as originally planned. Eventually they reasoned that they’d stand a better chance of recouping their costs with piecemeal rentals, even at low rates.

Still, though, the 2509 has a homey feel, with a gas stove along one wall opposite a small wet bar. It has a full bathroom and curtained-off area at the back that can be used as a bedroom for visiting artists. A grid attached to the middle of the ceiling holds a small LED lighting system, double-paned windows minimize sound for the surrounding residential neighborhood, and there’s room to seat an audience of 50 or so.

Already Hand2Mouth Theatre has used the 2509 for rehearsals, the renowned Portland actor Michael O’Connell has used it to teach classes, and Orchestra of the Moon — a band that includes Saulle-Simek and plays what it calls “early music for modern times” — performs there this Saturday night and Sunday afternoon.

Simek hopes the place will stay busy. (Reservations can be made by email: simek@lclark.edu) After repeating his line about it being open to everything but amplified music and Bible study, he says simply, “I want it to feel alive. I want life!”

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‘Amazing landscape’ inspires Sitka Center resident artists

The five new residents, who will introduce themselves Wednesday, include an underwater photographer and an artist whose work is linked to animals

Artists Isabelle Hayeur and Felix Prater, who began residencies at the Sitka Center for Art and Ecology this week, both journeyed from afar to practice their craft at the retreat dedicated to fostering creativity, curiosity, and education.

They are among five new residents who will stay through May 1. Others are whale researcher Fred Sharpe, writer Matt Jones, and mixed-media artist Brenda Mallory. On Wednesday, Jan. 23, the group will share a bit about themselves at the Resident Show & Tell at 6 p.m. in the Boyden Center.

Residents spend from 2 weeks to 3-1/2 months making art, composing music, writing, or conducting research without the limitation of a product-driven residency, program coordinator Sara Haug said. “Residents are given the time and space to explore creative pursuits that are enhanced by the Sitka Center’s mission of existing in space dedicated to the intellectual pursuits of art, ecology, and the fusion of both.”

Isabelle Hayeur often works in waders in her quest to photograph life underwater.

Residents do not receive a stipend but are provided a private, fully furnished cabin and a studio or workspace for the duration of their residency.

If you can’t make Wednesday’s gathering — apologies for the short notice — you’ll have another chance when residents do final presentations April 27 in the Boyden Studio. In the meantime, here’s a look at two of the artists visiting our coast.

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DramaWatch: Planning for a bountiful harvest from Fertile Ground

Portland's wide-ranging new works festival offers more than you can manage alone. Plus, new shows from Portland Center Stage, Portland Playhouse and others.

“Conceived and organized by the Portland Area Theater Alliance, Fertile Ground is a new, 10-day, city-wide festival dedicated to the creation and promotion of original works for the theater. Home-grown and wide-ranging, it both reflects and nurtures the creativity, aesthetic diversity and collaborative spirit of Portland’s performing community with three dozen projects in all. Even in these cold, hard times (in terms of the weather and the economy) it looks like something fun and invigorating enough to take root on the highlight calendar of Northwest arts events.”

Doesn’t seem so long ago, really, that I wrote that — in my former life as theater critic for The Oregonian — about the first Fertile Ground festival in January of 2009. Surely enough, the festival did take root and very quickly grew into one of the city’s mid-winter cultural staples. Not only did that first iteration provide proof of concept (a.k.a., “It works!”), but it delivered memorable works such as Christine McKinley’s science-themed coming-of-age musical Gracie and the Atom, Ezra Weiss’s Mad-Hatter-hip jazz version of Alice in Wonderland and Nancy Keystone’s rocketry epic Apollo.

Right off the bat, attendance was in the 10,000 range. Soon, the number of plays/projects/performances on offer doubled, and Fertile Ground became a reliable hot house for buzz-worthy work: The North Plan, Famished, Dear Galileo, Willow Jade The Huntsmen, The Tripping Point, 99 Ways to Fuck a Swan, The Hillsboro Story, My Mind Is Like an Open Meadow, The Snowstorm…

Maureen Porter joins the CoHo Clown Cohort for “Witch Hunt,” a seriously comic take on Arthur Miller’s “The Crucible,” as part of Fertile Ground 2019. Photo: Urban Body Project.

So here we are at the 10th anniversary of that inaugural edition, with the 11th annual festival set to kick off on January 24. Chances are good that a critical and/or popular consensus will lift a few of the 70-some presentations to memorable status and/or further development and/or subsequent productions. But the whole idea here is that these shows are new; so while we may have hunches about what’s promising based on the artists involved or the idea they’re pursuing, no one really knows what you really ought to see. Of course there’s the matter of subjectivity. Topics range from Shakespeare to BDSM (er…if you have to ask…), and while my personal “Don’t care!” sign starts flashing red at the thought of, say, vampire stories or circus arts, you might think me a hopeless dolt to be intrigued by a Chekhov adaptation or a drama about gun control.

And schedules only complicate the matter further! For starters, not everyone can do a full Kay Olsen on the thing (Portland theater insiders know what I mean). With so many shows, at venues spread across Portland and (a bit) beyond, at conflicting or overlapping times, even a full-time commitment to the festival wouldn’t allow you to see even half.

So.

Decisions, decisions.

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