Farm Out Could an artists' community in the Marshall/Monroe district be the lift that the area needs? by DAVID HALL vents in the art community over the last few years have given local artists any number of reasons to have low morale. There are questionable connections between private and public arts organizations. Entities that ostensibly are in place to vitalize the art community (i. e., Delta Axis, Memphis College of Art, Number:) have had very little positive impact for a very long time now; indeed, self-preservation seems to be their primary motivation. The two best exhibition spaces to shoot for in town are at the University of Memphis gallery or hanging your work in a tent at Arts in the Park. Alternative spaces that once were the source of much excitement are pretty much history. But there are plenty of opportunities to get "exposure" at any one of the various art auctions that seem to be reproducing like bunnies -- if you don't mind giving your work away. For the most part, validation as an artist in Memphis hinges on ones affiliation with affluence or academia. (It's funny, but while no one will ever dispute these facts, some do attribute the mere mentioning of them to the "sour grapes" of a mediocre artist. But let's face it. Sucking at being an artist doesn't hurt some people. And we have the public art and gallery shows in Memphis to prove it.) The up side of losing hope is the personal empowerment that can be harnessed by realizing that one has nothing to lose by bucking the system. For the longest time, artists acquiesced to the major players of the art community as the only game in town, but increasingly, various groups seeking to offer an alternative to business as usual are beginning to establish themselves around the city. Sculptor Mark Nowell recently called and invited me to an Art Farm meeting, because I have a studio inside Marshall Arts and have participated in the two previous "festivals." At past Art Farms, those renting studios in the Marshall/Monroe district opened their doors to showcase their work and that of much of the art community at large, with plenty of beer thrown in for good measure (artists love beer). The agenda seems to be growing. At the meeting I attended there was talk of banners, closing off streets, bands playing, an Art Farm Gallery, a Web page, a bank account, and yes, more beer. There has already been substantial personal investment from many of the Art Farmers: five murals painted (for no compensation) and officers elected to perform various duties. Nowell, president of Art Farm, describes himself as a "crude, barbaric loudmouth," and while I wouldn't go that far, he does seem a little over-caffeinated at times; he proclaimed at the gathering that, like the Bauhaus, he wanted Art Farm to be an "internationally known art movement" resulting in "fame and fortune." What I could never put my finger on was what would put Art Farm on the map. That we all rent a studio from painter Pinkney Herbert at the same intersection didn't seem like enough to get us in the history books, and there are much more highly developed arts districts around the country that will never reach that kind of importance. Much of the chatter was highly speculative, dependent upon as-yet unseen philanthropists and untempered by any kind of reality check. There were some exceptions, though. Claudio Perez-Leon, who until recently had been working in the Marshall/Monroe district, offered a unique contribution to the Art Farm dialogue. The artist, who has been doing research for a project that would give members of the Hispanic community better access to affordable housing, has also been gathering data pertaining to the formation of an officially recognized art district. His inquiry is focused on finding out the benefits and obligations for the artists (rather than the property owners) if such a status is established. He is interested in the prospect of an artists' co-op purchasing a building in the area (or elsewhere) or at least organizing artists so that they have more negotiating power with regard to rents, because he believes the improvements artists make upon the district could contribute to gentrification. Certainly, there are examples around the country in which artists moved into run-down neighborhoods and created vital arts districts, only to be pushed out by rising rents when the area got hot (e.g., Deep Ellum in Dallas, Chelsea and Tribeca in New York, among others). Perez-Leon remains realistic about any chance that such an artists-run co-op could be formed around Marshall/Monroe. The various artists in the area are not motivated by the same goals (one attendee said that he had no interest in owning a building), and it is obvious that many are naive about the liabilities associated with property ownership. While I am heartened by the sense of empowerment exhibited at this meeting, I fear what will happen to this group if their lofty aspirations don't pan out. Too much dependence on outside investors and the belief that tourists visiting Graceland and Sun Studio are going to take interest in Art Farm is setting oneself up for disappointment. And while it is noble that artists are willing as paying tenants to beautify the area with murals, it has been my experience that the only opportunity that comes from making free art is to make more free art. That said, there is something really beautiful coming into fruition here. What is lacking in the Memphis art scene is a sense of community, and that is the real jewel of Art Farm. There is wealth to be found in this simple fact: That by taking an interest in each other's work and lives, we can begin to counter the cliquishness and provincialism that have long characterized our scene. I am not just talking about warm and fuzzy feelings here. One of the major causes of attrition among artists is the alienation that takes hold of most not long after graduation; without the support structures and communication with other artists that the schools offer -- as well as the need to pay the bills -- most artists' careers are finished within a few years. If the Art Farmers will accentuate this aspect, rather than just a "show me the money" mentality, in the end perhaps the money will come looking for them. * Cooper Street Gallery celebrates its 10th anniversary this Friday, August 13th, from 6 to 9 p.m. Owner Jay Etkin says there will be music by Gregg Hansen (one of the nicest people ever), refreshments, and "Bag-O" giveaways created just for the event. Etkin, who is originally from New York, has been a good friend to local artists over the years, offering a venue for homegrown talent. This promises to be a festive occasion, so don't miss out on all the fun.