Contrary to the rumors, there is no Axe Street manifesto of political correctness. Nor is there a board of directors, a corporate structure, a millionaire backer, a profit motive, or a bottom line.
Come August, however, things will change. The collective’s four-year lease is up, the building has been sold, and its new owners are considering commercial development.
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While it lasted, Axe St. Arena was unique. Unlike other galleries–both commercial and not-for-profit–Axe Street didn’t even try to sell art.
“Sometimes it’s been really stressful,” admits Piazza. During a dinner for collaborating artists, the Piazzas’ youngest son spent the evening sick and crying. “We didn’t know what was going on with him, and like we had our minds on two things at once, and we kept going back there trying to calm him down, trying to make sure everything was all right. That kind of thing was hard.”
Now and then, the cleanup was more than just sweeping and dusting, as when graffiti artists involved in one of their shows decided to tag the stairway. “It was, I suppose, a compliment,” Piazza says with a sigh.
“But we’re not disbanding,” says Marchnight. “We’ll still do performances and, when the need arises, we’ll sponsor exhibitions.”
