Jeff Jahn is a polymath curator, critic, publisher, composer and artist based in Portland Oregon.
A participant in many of the recent radical changes in Portland's cultural scene Jahn has been published in Art in America, Modern Painters, Art Critical, NY Arts Journal and Diesel among others. In 2006 he co-launched the noted and innovative art macro blog PORT (Art In America November 2007 internet art writing roundtable here). His Art and Threat and The Best Coast essays are also available online. Jahn is the founding director and curator of organism a non-profit visual art institution for Portland Oregon.
Portland is a unique city that is coming into its own with its cosmopolitan yet bohemian vibe, almost Romanesque civics, West Coast joie de vivre and a vibrant 19th century plan that encourages walking, cafes, environmental awareness and the best bookstores in North America.
It's the alternative to and a lense on LA and New York without being derivative of either one. 'PDX' (as many of its 2.1 million + metro inhabitants call it) is basically National Public Radio in city form."- jj
some commentary on mr. jahn:
"Arguably the most gifted curator in Portland..." Richard Speer, Willamette Week July 25th 2006
"Speaking of fresh, Portland's freewheeling, freelance art curator, Jeff Jahn... impressive" Regina Hackett, Seattle PI, October 10th 2005
“… Jahn’s laser focus on the present moment emphasizes one important thing about him: He’s the voice of right now.” D.K. Row, Oregonian Sept 5th 2002
"Organism's sophomore show impresses with restraint" Richard Speer, Willamette Week September 12th 2007
"The exhibition Fresh Trouble could be the missing link between the Affair at the Jupiter art fair and the Jubitz Center for Modern and Contemporary Art." Joseph Gallivan, Portland Tribune September 23rd 2005
“a clarion call for Portland’s new guard of serious artists- the ones creating a dialog that exceeds the bounds of so-called regional art.” Harvest Henderson The Oregonian (Portland) May 16th 2003
“In the ecology of Portland he is an important independent player. . . . He’s calling for a level of seriousness.”Stuart Horodner in the Oregonian Sept. 5th 2002, by D.K. Row
"an interviewer's dream" CNN, September 2004
"Outspoken and provocative, Jahn sees greatness in the arts in Portland and won't let any of us settle for less." Lisa Radon, UltraPDX.com, April 28th 2006
“in an art scene where noninstitutional artists and curators are one of its strongest elements, Jahn’s 'The Best Coast' stood out.” D.K. Row, The Oregonian, May 30th 2003
“….over the course of a single night, I have never been part of so many lively arguments about what constitutes a local art scene, what pushes it forward, and whether someone like Jahn is necessary or not.” Emily Hall, The Stranger (Seattle), May 29th 2003
“To casual observers and culture vultures alike, its obvious the 31 year old Jahn works hard to throw light on Portland’s visual arts scene. . . . And he may have what it takes- he’s competitive, irrepressible and more than a little obsessed.” Michaela Bancud, Portland Tribune, Sept 6th 2002
“Indefatigable” Nathan Guequirre, Shepherd Express (Milwaukee) 1998
"Jahn's two photographs, including one of the tram, are beautiful images that emphasize the luminous space and lightness of architectural structures. DK Row, Oregonian, May 15th 2008
"Love him or hate him, local art writer/curator/artist Jeff Jahn is usually willing to put his money where his mouth is, which is considerable...." Chas Bowie, Portland Mercury, May 2003
Standard Statements:
On Curators:
"There are too many who simply follow other curators or try to educate/pander towards what they perceive are their audience's assumptions, weaknesses and tastes. I find it imperative to trust the viewers and create engaging exhibitions that challenge both myself and viewers with both physicality and content. People naturally think for themselves. Though many curators simply have their hands tied, the ones that transcend their limitations are incredibly valuable. That said when did artists officially abdicate their right to contextualize themselves?
I'm certain that artist-lead aesthetic and intellectual coalitions have had more lasting effects than institutional surveys....just compare Super Flat, Freeze, the Ten or Der Sturm shows to any Whitney Biennial. It isn't even close, some of the brighter curators like Hans Ulrich Obrist have come to the same conclusion. The fact remains, art lovers and curators both have to do artist studio visits if they hope to have an understanding that goes beyond the standard "intermediate" level art canon.
Also, there is a philosophy to physical space so I appreciate shows that present the work with a different kind of perspective."
On Art Writing
"For many reasons expository art writing is confused as critical review in the USA. This is partially due to the general anti-intellectual bias of the country and the editorial conventions in our newspapers. One reason the British have emerged as such an important nexus of art activity is their literary culture is content and critique driven. Strong opinions are an asset in British art publications. Whereas in America its turned into a bit of a cakewalk in the fashion magazines. London has that too but its less "cake" and more catty, the Brits are engaged. There is a passivity to the conventions of discourse in the USA (Dave Hickey, Robert Storr, Jerry Saltz and a few others excepted but they are a minority who write for more niche audiences).
On Portland and being a cultural catalyst:
"I think , publish, travel and show globally so when I arrived in 1999 I recognized Portland was the only major West Coast city where visual art was the top cultural product. It is an important distinction since the West Coast is just beginning to come into its own culturally even though economically its already incredibly important. Culture is a growth industry on the Left Coast and Portland (whose metro area has over 2 million people) is going through a dramatic visual arts sea change. This activity has been enlightening on a broader cultural level.
Nobody knows how this scene will play out but there is a sense something is afoot here and some of the top critics have been keeping an eye on us. The massive real-estate boom in the chief gallery district (the Pearl) has added a lot of very visible potential."
Being Controversial?
"It's the best sign one is doing something right. I'm honored really, since the majority of what I've done has had an intellectual, content-oriented base. Where else but book-crazy Portland is that worthy of controversy? Truth be told, in cultural affairs I rather prefer contrition to praise. It gives me impetus to work harder and it pushes others to take action as well. All the muttering comes with the territory and when the Oregonian called me, "The charismatic leader of Portland's arty brat pack," (D1, Sept. 4 2002) I knew all hell would break loose. Conversely, I got emails from those who were so pleased with me it was uncomfortably messianic."
Contemporary Art innovative Portland Oregon scene jeff jahn
