"We're going on five years," marvels violinist and composer Tom Swafford, referring to the endurance of the now defunct Polestar Music Gallery and its currently struggling successor, Gallery 1412.
An unassuming storefront space nestled between the Central District and the Pike/Pine nightlife of Capitol Hill, Gallery 1412 is in a class all its own. Since November 2004 (Polestar inhabited the space from May 2002 to October 2004) the all-ages venue has booked musicians whose work is generally unwelcome in Seattle's usual clubs, bars, and concert halls: free improvisation, lowercase sound, noise, out-jazz, contemporary "postclassical" composition, and other adventurous musics.
"We're open to booking lots of things," attests Swafford. "It's a place where people who don't have another venue can play." Many luminaries of the avant, including AMM's Eddie Prévost, Otomo Yoshihide, LaDonna Smith, and bassist John Edwards, as well as up-and-coming artists such as Karen Stackpole, Chris Cogburn, and Nate Wooley, have played there. "This place is turning into an institution," Swafford adds, "if we can keep it going."
And that is a big ifâa last-minute fundraising benefit in late October failed. "It was less than stellar," admits pianist and longtime Gallery 1412 cocurator Gust Burns. "It wasn't much of a success in terms of raising money, but it was successful in rallying those involved."
Chastened, the collective that keeps Gallery 1412 going decided to organize a board of directors and muster several committees "for dealing with day-to-day things," says Burns.
They're also taking another shot at a benefit. Trombonist Chris Stover, part of Gallery 1412's newly inaugurated board of directors, tells me flatly, "We're going to do a real benefit sometime in December. We'll make it an event and get the word out this time." He also has hopes for the recent spate of organizing. "We want to get into a position where we're not squeaking by every month."
Predictably, money remains one of Gallery 1412's biggest problems. It receives no public funding, which is perhaps a legacy of Polestar's DIY ethic. Rather than rely on unpredictable grants, coproprietors Henry Hughes and Peggy Sartoris-Belaqua enlisted volunteers like Swafford and recruited generous donors. Gallery 1412 is sustained by a dozen artists who chip in on the monthly rent and run whatever shows they decide to book. Most of Gallery 1412's $5â$15 suggested donation goes the performers, contributing only a small part to expenses.
Despite shouldering a recent rent increase, Gallery 1412's collective hopes that increased attendance will keep the space affordable and available for public performances as well as foster private creative work.
Development in the area may also pose a threat to the venue: Condo construction has supplanted a haggard row of houses next to Gallery 1412. "We're worried about noise complaints," explains Stover, "though most shows aren't loud and are over by 10 or 10:30 p.m."
But Gallery 1412's location may be its ultimate undoing. Alluding to the absence of nearby stores, bars, and clubs, Swafford states positively, "There's nothing else going on, no reason to be here unless you're there to hear the music; there are no distractions." Performances of quiet, intimate music benefit profoundly; however, Gallery 1412's location reduces the odds of luring in casual passersby.
Gallery 1412 may or may not survive the current hard times, but for now this crucial, comparatively long-standing hub of Seattle's avant community has much to offer for risk-taking, musical souls. Swafford hopes people recognize that and "come and check out a show. Just for the experience of going and having no idea what they'll hear."
Gallery 1412 is located at 1412 18th Ave E. For performance information go to www.gallery1412.org.
