In 2015 an unlikely crew—artists, developer, coffee-shop owner—forged an alliance to buy a historic building in Pioneer Square. We dubbed it the Good Arts Building, in an homage to the “Good Eats Cafeteria” that once occupied it, and also as a statement of their purpose. Since its inception, Pioneer Square has historically been home to the performing and visual arts. During economic down-times, artists have snatched up cheap warehouse space, while scrappy black-box theatres claimed dilapidated storefronts, revitalizing the neighborhood in the process. Artists, theatres, art galleries and small quirky businesses have given the neighborhood its identity and “vibrancy” as they say nowadays. The Good Arts Building was founded so that these creators of cultural and economic value could stick around to reap the benefits.

Our model for sustainability harvests the synergy of the complementary businesses that occupy the building: the studio artists attract attendees to exhibitions and events; those attendees patronize the restaurants and shops. A guy who comes in for a haircut buys a vintage suit and has it tailored, all without leaving the building. Part of the coffeehouse doubles as a gallery, bringing interest to the restaurant and income to the artists.

The arts were infused into every corner, raising the foot traffic and the value of the location, while the rents of the studios remained affordable to creative small businesses, yet sustainable for the building. Over the past five years, work spaces for artists have alarmingly disappeared across the city: In the same period, Good Arts added 14 studios to ’57 Biscayne’s existing 14, plus a street-level arcade of maker and micro-retail spaces.

Making space for the arts turned out to be a good business decision. The art studio tenants have paid rent in full every month of the pandemic, and helped us get through the year.

A boutique guest rental for overnight stays supplements our revenues. Moreover, a model of 100% occupancy, rather than the traditional 80%, along with the creative use of underutilized spaces, has allowed us to  pay our bills while still maintaining affordability.

In 2017, we combined our three corner storefronts to create a new anchor location for Cherry Street Coffee House, with a stunning remodel by Atelier Drome architects. That same year, we converted a neighboring long-vacant storefront into Good Arts Arcade, consisting of four boutique-sized retail spaces that open on to a central gallery, currently occupied by a bespoke tailor, hair design studio, and a perfumerie.

We also gave the exterior its first paint job in over twenty years, with a new color scheme designed by the resident artists. Customized steel flower basket hangers, featuring pictorial nods to the buildings’ colorful occupants past and present, and handmade by owners Richlovsky and Coulter, reinforce our identity and add visual interest. In 2019, Bad Bishop Bar picked up the final storefront and gave it a gorgeous makeover, opening to rave reviews.

As it turns out, making space for the arts was a really good business decision. This year, when the restaurants and retail tenants saw a precipitous drop in revenues, or had to close entirely, our rental receipts took a hit, just like those of every commercial building owner. However, the art studio tenants have paid rent in full every month of the pandemic, and helped us get through the year.

Our tenants and partners continue to creatively respond to challenges: Cherry Street Coffee, a daytime business, is making room in the mezzanine for Sake Nomi tasting room, an evening destination. They will share some seating (when we can sit inside again), and their coexistence will add to the dynamism of the whole. We invested in community when we bought this building, and community is what is helping us survive.

This year, we are looking for additional partner-owners, people who share our vision of a world where creatives reap the benefits of their work, to help write the Good Arts Building’s next chapter. It’s an opportunity to invest in the creative economy and Seattle’s future. Contact us if this sounds like you.

You Are Here, Too opens Thursday, May 3 at the Good Arts Gallery.

In a city in which the ground has literally shifted several times over the past hundred years from seismic activity and human intervention, and continues to shift through highway projects and rampant development, maps can provide a link to the shared past and a record of the layers underneath.

You Are Here Too, an exhibition of artists’ responses to maps and mapping, opens May 3, 2018, continuing through August 30, at the Good Arts Building in Pioneer Square. The show is divided between two galleries within the building: Good Arts Gallery, inside Cherry Street Coffee House at 700 First Avenue, and ’57 Biscayne Artist Studios, upstairs at 110 Cherry Street (maps provided onsite). You Are Here, Too is co-curated by artists Annie Brule and Jane Richlovsky. Brule is also a cartographer.

Incorporating actual maps, or images, typography, and constructs borrowed from maps, the artworks in the show trace the topography of the natural world, political boundaries, the built environment, slavery, motherhood, and more. Artists working in diverse media—paintings, drawings, layered collages, embroidery, digital media, and ceramics—include David Francis, Nia Michaels, Dara Solliday, Joseph Pentheroudakis, Dawn Endean, Savina Mason, Morgan Cahn, Beverly Naidus, Elizabeth Arzani, Ann Marie Schneider, Hadar Iron, Lindsay Peyton, Warren Munzel, Marie Abando, Ann Marie Schneider, and Karey Kessler.

Like visual art itself, maps are an agreed-upon, yet arbitrary representation of real things; they are abstract metaphors for real places. In a lifetime of experiencing the world through these metaphors, maps and the actual places they represent start to layer themselves on top of one another in the mind of the navigator.

The layering effect is reflected in the very location of You Are Here, Too: Beloved local institution Metsker Maps occupied the footprint of Good Arts Gallery, purveying maps there from 1986-2004. Digging deeper into the layers, the ground on which the building sits was a center of commerce for the Duwamish, and Seattle’s original coastline.

The First Thursday opening reception will be held on May 3, from 6-9 PM, along with our first building-wide open house. Artists’ studios will be open to the public at ’57 Biscayne (110 Cherry), including the new third-floor expansion, and inside the Good Arts Arcade at 108 Cherry. We’ll have live piano music by Victor Janusz in the second-floor lobby.

Image: Orientation / Sand Earth, Ann Marie Schneider; photography, digital media, custom printing technique; limited edition giclee print

. . . to Cherry Street Coffee House. He probably just wanted a cup of coffee.

Actually, that’s the name of an art show, our second one at the Good Arts Gallery, nestled in the upper level of Cherry Street Coffee House. Every two months, ’57 Biscayne proprietrix Jane Richlovsky teams up with a different guest co-curator to put together a new exhibit. This month’s co-curator, Hen Chung of RAD AND HUNGRY, brings us paintings by Mike Tidwell.

“The Devil Showed Up Early” opens January 4 with a First Thursday reception from 5-7:30 and continues through February.

If God and the Devil met on Earth to battle against one another, I’ve always imagined it would take place in the American Deep South. With probably more churches than schools, one could argue the South is setting the stage for a confrontation of “good vs. evil”.

Growing up in small town Alabama, The Devil Showed Up Early is a series inspired by places from my childhood. It’s always felt like there was something sinister happening below the surface – a supernatural eeriness. Dig deep into the soil, and there’s beauty born from the Deep South’s past despite its twisted history. And of course, the Devil would show up early.

Mike Tidwell

R.I.P. the album cover, sort of. We said our goodbyes to that roomy square-foot of substantial cardstock, with its fantastic artwork — maybe by Warhol or Dali or Mapplethorpe —to name just a few. We also said our goodbyes to the hours of contemplation of the cover-art while the music spun on a nearby turntable, a unique synthesis of the aural with the visual with the tactile — a feast for the soul. Then the album cover was demoted in both size and importance, a mere afterthought of a booklet cover, encased in brittle plastic. Now stripped of its physicality entirely, it’s relegated to the ether where its low-rez pixelated remains live out their diminished existence barely visible on tiny hand-held screens. Until now! With LP sales now at a twenty-eight-year high, the album cover (both genuine and fake) is back!

Original Hits by Original Artists, opening May 4 at the Good Arts Building, will pay proper homage to the art of the album cover, both past and present—without the album. The exhibit features covers for dozens of fabricated albums cut by bands that exist only in the artists’ imaginations. The show will be on view May 4 – May 31, 2017 in our 108 Cherry Street storefront, downstairs from ’57 Biscayne & next door to the future home of Cherry Street Coffee House.

A Release Party and reception for the artists will be held First Thursday, May 4, 6:00 -10:00 p.m. followed by the Upstream Music Fest, May 11-13, when there will be actual live (if unrelated) music on site, programmed by Upstream during the run of the festival. One of a handful of free venues in the neighborhood, it will be open from 4-8PM on May 11 & 12; and 1PM-8PM (music 4-8PM only) on May 13. Beer and snacks will be available for purchase during the festival courtesy of co-owner Cherry Street Coffee House. The exhibit will also be open on the last two Fridays and Saturdays in May, from 1-6PM and by appointment.

Original Hits is co-curated by artists Jane Richlovsky and Dara Solliday of ’57 Biscayne studios which, incidentally, were named for a Joni Mitchell song lyric. For this show Richlovsky and Solliday invited approximately thirty-three and one third artists to unearth those long-forgotten catch phrases that had once sparked a reply of “That would make a great band name!” and then create a full-size old-school 12-inch LP album cover for this hypothetical hitmaker. Artists include Romson Bustillo, Kelly Lyles, Nia Michaels, Jed Dunkerley, Gabriel Campanario, Richlovsky, and Solliday, showing fake album covers in paint, collage, repurposed tin, textiles, wood, and who knows what else.

Watch this space! Construction began this week for the new Cherry Street Coffee House in the southwest corner of the Good Arts Building. Three spaces are being combined, the former Cafe Bengodi plus two adjacent storefronts that once housed Metzger Maps and, in more recent memory, a bar featuring naked sushi.

Good Arts denizens ’57 Biscayne Studios will present Original Hits by Original Artists as the inaugural exhibit in the new space: Opening May 4,  the show will pay proper homage to the art of the album cover, both past and present—without the album. The exhibit features covers for approximately 33-1/3  fabricated albums cut by bands that exist only in the artists’ imaginations. On view May 4 – May 31, 2017 in the future home of Cherry Street Coffee House, 700 1^st Avenue.

A Release Party and reception for the artists will be held First Thursday, May 4, 6:00 -10:00 p.m. followed by the Upstream Music Fest, May 11-13, when there will be actual live (if unrelated) music on site, programmed by Upstream during the run of the festival. (One of a handful of free venues in the neighborhood.)

KPLU reporter Monica Spain visited the Good Arts Building last week to chat with Jane Richlovsky and guest artist Gabriel Campanario about Placiness, the exhibit now on view at ’57 Biscayne on the second floor of Good Arts. Hear or read the story here.

Placiness features artwork inspired by the buildings, history, landscape, and humanscape of Seattle. Paintings, drawings, and photographs directly confronting the cityscape, constructions incorporating materials endemic to the region and more. Through August 28.

Photo of Juan Alonso‘s Town Hall digital prints by Jane Richlovsky

The Good Arts Building is dedicated to preserving space for artists to create in the middle of the city. Most people we talk to agree that it’s a great thing to make sure artists stay in the city. But what about the art they make there? Why do the artists themselves want to stay and make their work in Seattle?

Placiness, an exhibit curated by Good Arts partner Jane Richlovsky, opens August 4 at ‘57 Biscayne on the second floor of the Good Arts Building. The show gathers visual evidence of what it actually means–from the artists’ points of view–to live and work in Seattle, to move about the city and to look at things and people. Featured guest artists include Seattle Sketcher Gabriel Campanario, Juan Alonso, Molly Magai, the late Drake Deknatel and more.

The show will run concurrent with the Seattle Art Fair, August 4-7, at 110 Cherry Street in Pioneer Square. An Artists’ Reception will be held Saturday, August 6 from 5-8 PM. Hours during the fair are First Thursday August 4, 5-8 PM; Fri/Sat. 12-8 PM; Sun. 1-6 PM

In keeping with its mission, Good Arts has signed on as an Event Partner to the Seattle Art Fair, and is hosting a Fair venue downstairs from the studios. In addition, the Good Arts Building is providing storefront space to La Sala Latino/a Artists Network and the Center on Contemporary Art; these groups are independently organizing concurrent events.

If you were to look up as you walked past the Good Arts Building, you might notice that our flower baskets aren’t hanging from the standard-issue Pioneer Square brackets. Two of the buildings’ owners designed and built these brackets to pay homage to some of the characters and institutions from the building’s colorful history.