Basement Gallery

“Art Underground: Basement Gallery’s X-mas X-hibition”

By Katy Dang

Boise Weekly | November 16, 2005

https://www.boiseweekly.com/boise/art-underground/Content?oid=924890

At the corner of 10th and Main streets, nestled at the bottom of the Idanha Hotel, lies a treasure trove of the local art scene. Just watch as passersby look down, peeking into a subterranean window well that houses three-dimensional artworks. The underground glass cases hold only a glimpse of what hangs on the walls down inside Basement Gallery.

Currently on display is the ninth annual X-mas X-hibition, where owner-operator Perry Allen plays host to all of the artists who have shown in the gallery over the past year. It’s a fine representation of Allen’s vast tastes and the freedom that he affords his artists. “This is a local gallery catering to local artists,” says Allen. “It’s a real grassroots program.”

The end-of-the-year retrospective is a different challenge than doing a feature show. “The work is all so different. That’s what I like about it. You’ve got everything from the traditional to the avant-garde to the eclectic.” The variety of the work reflects Allen’s approach to his gallery and to his willingness to show challenging contemporary work.

“I’m not the big-time aggressive art dealer: That’s not me. I’m here for the locals; this is their home.” Acting on this principle, none of the 40-odd artists that Allen represents are under contract with him. He’s been in the art world long enough to have seen that binding contracts can be “devastating.” His artists are free to show elsewhere, and to move on and be represented by bigger art galleries. Allen has no problem being a stepping stone gallery for his artists, and feels that such a development reflects well on him and his gallery. “There’s a lot of money in art, but that isn’t what art is about.”

The physical space lends itself well to Allen’s ideas, as demonstrated in the current exhibit. The layout of the gallery lends an intimacy to the viewing experience. Rather than quickly scanning the works and moving on, the viewer is able to move to distinct areas and be confronted with very different works. This is not a show that you breeze through, but one that asks that you spend some time. Allen relishes putting viewers up close to the works, which is conveniently what his space commands. “I’m not pulling viewers away from the art: I’m pushing them in. Yeah, they might breathe on it a little, but they’re not going to hurt it.”

Hearing Allen talk about his artists and their art is one of the true delights at the Basement Gallery. His relationship to his space, his artists and their work forms a strong nexus that brings the viewer easily into an eclectic, edgy world. “That’s why I’m in the basement: The Basement Gallery is an underground gallery.”

Recently, Allen spoke about some of the artists in the X-mas X-hibition. “He’s just a kick,” says Allen of Boise State Professor Bill Carman. The characters created by Carman adorn one wall of the gallery like a set of fond family portraits. Their names also act as their descriptions in the text of the pieces, such as Short Eddie and his Twisted Troupe o’ Homogenous Hedgehogs … featuring Stan the Trout and Colossal Cranium Chloe and her Pinhead Pooches. Carman generally shows his mixed media works twice a year in the gallery. “He’s producing work constantly. I respect him because he is part of the piece while he’s producing it, and then when it’s finished, he’s on to the next. All the fun is in producing the art,” says Allen.

“Our relationship has never been about the commercial aspects but more about showing interesting work,” states Carman. “That’s one of the reasons I have always enjoyed working with Perry.”

Carman continues, “The Basement Gallery has been a great stepping stone for those young artists on their way to fame and fortune but also holds a special place for artists like me who are perhaps no longer as interested in fame and fortune but who would like a place to connect with the community and show odd little things which might grow into even odder big things.”

It’s easy for Allen to wax poetic about any of the work in his gallery, and his engagement with each piece is infectious. Allen points out the work of Mike Flinn, who has been producing art in town “forever.” His paintings are dreamlike and surrealistic, including the oil painting Someone’s in the Kitchen with Piranha (bleeding on the ol’ banjo). “Whatever you think is going on in his paintings is up to you,” says Allen by way of explanation. Flinn has three pieces up in the main gallery, and more hang in the workroom of the frame shop, which serves as an extension of the gallery walls. One of the works is a hand-painted guitar. For the last two years, local guitar-making legend John Bolin has given Flinn a totally original handmade guitar and a title. This year, it is Tumbling Dice, and Flinn has painted the instrument to create a unique work of art: a custom hand-painted Bolin Mysterycaster.

“Perry gives me a lot of elbow room to do things I’m not sure others can or want to,” says Flinn. “Plus I just dig that subterranean space. It’s relaxed and the owner’s a cool cat to hang out with.”

“The retrospective group exhibits are always diverse and inspiring,” continues Flinn. “Since I’m not much for organized groups, it’s nice to be involved with one that is only organized in the sense that Basement Gallery thinks we belong together in the same space for a while each November and December.”

The established artists hang right alongside new artists in Allen’s gallery. He shows the work of teachers and students (John Killmaster and himself), mentors and their proteges (Ardith Tate and Amy Lunstrum-Nelson), seasoned professionals and new practitioners (Bill Carman and Ben Wilson).

There are many, many other artists who have work displayed in the X-mas X-hibition, and the variety of the works is something to behold. Treat yourself to a visit to the Basement Gallery to check out the art that has hung on its walls during the past year, and for a glimpse into the art scene that Perry Allen has helped to nurture. Get him talking and you’re bound to learn a lot. “I’m always learning, too” says Allen. “That’s what keeps it interesting.” His ability to keep learning, and keep educating keeps the work in his gallery engaging, provocative and full of integrity.

“It’s the kind of work I’m proud to show.”