Northshore Magazine

130 that mission. "Our members exhibit work [in the city's restaurants], and restaurant owners get fresh artwork monthly. I see the arts as a way of attracting an educated population, which, in turn, helps busi- nesses thrive. "We used to be the only artists' gallery complex here in the city," notes Byrne. Then Ayer Lofts opened, and developers got ideas and starting renting and selling places. "The arts brought a lot of develop- ment into the city." Though always mind- ful of her own organization, Byrne thinks in terms of the city's overall economic health, and works to nurture it. She is cur- rently collaborating with city hall to ac- quire juried artwork for the council's new chambers. "That's one way we reach out to the community. We are raising money and buying the artwork and then turning around and donating it to the city." The city's many arts organizations operate according to different economic models—some, like "The Brush," earn income from studio rentals, subletted show space, and year-round events. Oth- ers rely more heavily on foot traffic. Most do a combination of things. "You've got to work on having a lot of events to build foot traffic," says Byrne. "As long as you do that, I think you are going to be OK." But, according to Karen Boutet and Alan Nidle, co-owners of Zeitgeist Gallery on Market Street, attracting foot traffic is easier said than done. Boutet grew up in Lowell and has returned after years in Cambridge where the couple owned another gallery. Things are very different from what she remembers, but she says, "The reputation hangs on." There are long stretches of time when people don't visit, and when they do, they buy inexpen- sive items. As community members, they note the lack of access to good grocery stores and other "basic needs sources." Additionally, there's no cinema. "The downtown needs more of a mix of things," says Nidle. "We are trying to figure out the Lowell conundrum." It is at once teeming with creativity yet in a holding pattern. "On the upside," says Boutet, "there are a lot of different approaches to housing and working as an artist here." Over at The Loading Dock Gallery on Western Avenue, artist Anne Lee has dealt with, what some label, the "fear factor." Located at the end of a dark dead-end street in an industrial area, her challenge has been to get people to come to events held at night. "It's not what people are ex- pecting," she acknowledges, "but there's more going on now. Once people come and actually see it, once they get here, they think it's wonderful." Byrne concurs. "The whole idea is to get people to come." She strongly believes Lowell's art scene is going to grow in the next 10 years because city planners and developers realize how beneficial it is to have artists in the community. "I think they will do anything they can to help us economically. I am really grateful for that. It's one of the reasons I am doing this work for the council chamber—the city has been very good to us, and it is a way to thank them." Walter Wright, an artist at 119 Gallery in the Highlands, has been an integral part of Lowell's art scene for 20 years. With 10 exhibits and 100-150 events per year, Wright doesn't have the lack-of-foot- traffic problem. He easily fills his gallery with active artists and art lovers. Years ago, while looking for a permanent space, he worked as an adjunct at UMass Lowell in the art department. At that time, Lowell had a reputation for street art and graffiti. "My perception," he says, "is that Lowell has always been a city for the arts. Artists are really blue-collar—they work with their hands. And what attracted artists to Lowell was [its] underground art scene." Bright Vision Eileen Byrne, director of the Brush Art Gallery & Studios, works to bring artists to the city. Opposite, Western Avenue Studios and The Loading Dock Gallery inhabit old mill buildings. REV_130_134_Apr14 Lowell.indd 130 2/21/14 5:24 PM

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