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It's Disjecta, again... and again... and again. Long time Portlanders are probably pretty familiar with this promotional routine, and have already formed their opinions. For those of you who don't know the history, PORT takes a look back and a look forward: A Brief History (dis-jek-'tuh) n. Latin. 1. Scattered remains or fragments. In 2000, Disjecta opened on NE Russell St., in the site of a former Masonic lodge. Early programming was almost entirely composed of scrappy group shows, yet the venue's first incarnation had the strongest visual arts focus and most frequent exhibition schedule to date. In the summer of 2003, Disjecta leader Bryan Suereth partnered very briefly with Gavin Shettler to create the Modern Zoo, an aptly named group show that invited everyone and anyone who wanted to show in a massive St. John's warehouse. Halfway through that summer, Suereth and Shettler decided to create a nonprofit called the Portland Center for the Advancement of Culture (PCAC). Disagreements split the pair in under a year, and the board sided with Shettler, forming the Portland Art Center (PAC), while Suereth pursued his vision with Disjecta. Infrequent, chaotic group shows, parties, and landlord troubles unfortunately set the tone for the Disjecta's future: In 2004, in the midst of applying for 501c3 status, they were forced out by a landlord change. It's worth noting that the Masonic lodge currently holds the Secret Society Ballroom, which can be rented out for parties and events... much like Disjecta 2. In June 2005, Disjecta the non-profit reopened downtown in the Templeton building, under the Burnside bridge. This was a considerably larger building, and probably too ambitious for an arts venue without deep pockets. Disjecta turned to music events and rented parties, struggling to fill the walls with a hodge-podge of very infrequent awkwardly curated group shows. Two years later, they were ousted again by a landlord change. The Oregonian speculated that Disjecta's closure was related to founder Bryan Suereth's inability to raise sufficient funds to run a non-profit. In retrospect, this raises questions about the relationship between Disjecta's and PAC's financial struggles as non-profits. The founders of both institutions lack an art background or a respected reputation amongst the established arts community, but Portland is also a notoriously intractable city for arts fundraising. Although it's difficult to identify the line between inexperience or incompetence in a tough environment, those interested in promoting the non-profit arts community in Portland would do well to learn from the financial problems encountered by both venues. Bryan Suereth: Asset or Albatross? A successful arts organization needs a successful leader. While there's no definitive list of qualities that make a good leader, it is fair to say that an individual should be savvy in finances, PR, and the arts - or able to work closely with those who are. A good relationship with the arts community, and the ability to navigate art world politics, is essential for the leader of an arts organization, particularly a non-profit, which is especially reliant on good will for programming and finances. Disjecta founder and leader Bryan Suereth has become notorious for a rash of personality conflicts with artists, curators, and the press. In 2005, visual arts coordinator Paul Middendorf left the organization the same week that they opened in the Templeton building. (Middendorf, who denied the opportunity to comment on his departure, went on to create the successful eastside Gallery Homeland.) What's more, Suereth gets defensive and has been known to frequently resort to insults and vague allusions to litigation in response to critical press. Suereth's surly personality even attracted the attention of the OLCC, leading them to deny him a liquor license in 2003 (it's worth noting that Disjecta was later able to successfully obtain a liquor license). Suereth is a highly vocal and active spokesman, and his temperamental reputation has become linked with Disjecta itself. An instance where Disjecta's relationship with artists soured significantly occurred after a 2006 auction in which Suereth ignored minimum bids at the end of the night, underselling a lot of work and leaving many artists feeling angry and betrayed. But there is a positive side to Suereth's stubborn personality. He's demonstrated incredible perseverance, continuing to pursue his vision for a community art space through eight years of dramatic ups and downs. Suereth has also created a truly alternative space by refusing to be beholden to traditional authority. This asset can also be a limitation, however, when taken to the point of alienating donors and letting inexperience lead to weaker programming. Perhaps Suereth's biggest mistake is refusing to step down, or even step back. Behind the big personality are a board of directors comprised of a lot of well respected and competent members of the Portland arts community. The board stands behind him as "smart, thick-skinned, driven, honestly interested in offering artists opportunities" (according to Meagan Atiyeh), but therein lies the problem: They continue to stand behind him. When PAC was facing closure, the board stepped down due to what they saw as a fundamental mismanagement of the organization. Disjecta's board needs to step up, address the personality conflicts that have plagued Suereth and the organization, and take a more active role in public relations. As a member of the Oregon Arts Commission, Atiyeh herself has excellent PR experience, and a strong relationship with the Portland arts community. I'm not calling for a change of leadership, but Disjecta would benefit from Suereth sharing the limelight and drawing more attention to the other active members of the organization. Disjecta 3: Rebirth or rehash? Disjecta is reopening this weekend on N Interstate, in the Kenton neighborhood, about a mile away from a smaller, but highly successful, alternative art venue Rock's Box (a personal project, and not a non-profit). Once again, the emphasis for Disjecta 3 is on SPACE. The new building, formerly a bowling alley, has 12,000 square feet, with 1,600 square feet of rehearsal space, 3,500 square feet of exhibition space, and planned additions of offices, residency studios, and a café/bar in January 2009. The close relationship of studio/rehearsal space and exhibition space is a questionable decision. As I mentioned above, Disjecta and Bryan's strength has been in the creation of an alternative space that promotes the development of new artists. For most artists, success means exhibiting away from their, and others', studios. The physical closeness of PAC and surrounding studios in its 5th Avenue location worked because they were entirely separate entities (and the studios remain). With MP5 and Working Artists, live/work and work/show space is an increasingly hip venture in Portland, but it's an unproven model. Inextricably linking studio/rehearsal space with exhibition space tends to devalue the programming, and depending on space rental for any significant portion of revenue is a financially risky proposition (especially in a recession). And, of course, there's the problem of filling all that exhibition space. The promise of space has proven to be a limited one. It's not how much you have, it's what you do with it. Disjecta 3's inaugural exhibition is another group show (details below). This fall they're picking up two solo shows formerly scheduled at PAC, Diane Jacobs and Dan Gilsdorf, but the field remains open from there. However, one key change to the Disjecta model leaves me optimistic for future programming, if they follow through. In 2009, they plan to begin hiring independent visual arts curators for year-long tenures – then again, Disjecta is known for promising plans. Hopefully they will be able to find good people willing to work with Suereth, and not suffer another split like the 2005 departure of Middendorf. If they can hire the right people, and back up 8 years of promotion, we may see a dramatic improvement both in visual arts programming and in Disjecta's relationship with the visual arts community. This weekend, come see Disjecta launch their third incarnation. They're opening with Immaterialized, a group show curated by IGLOO co-founder Damien Gilley. It features six works by six Portland-based artists and/or artist teams: Gordon Barnes & Shelby Davis, Ryan Burghard & Dean Spella, Justin Gorman, Damien Gilley, Rebecca Steele, and Makerlab (Paige Saez, Anselm Hook, Marlin Pohlman, and Ben Foote). The works run the gamut of installation, drawing, mixed-media, and "mobile technologies," tenuously anchored by the themes of "abstraction and architecture, spirituality and artifice, ephemera and decoration." The artist list is promising, but the curatorial focus seems, well, unfocused, in classic Disjecta style. Regardless, it promises an intriguing beginning to what will hopefully be a brighter chapter in the history of alternative Portland venues. Opening reception • 6-9pm • July 19 Disjecta • 8371 N Interstate AVE • 503.913.6884