In conversation about the past and future of alternative art spaces: Anyka Barber (Founder and Director of Betti Ono), Patricia Maloney (Executive Director of Southern Exposure and Publisher Emeritus of Daily Serving/Art Practical), Renny Pritikin (curator and museum director in Northern California since 1979, including Co-Director and Executive Director at New Langton Arts and currently the Chief Curator of The Contemporary Jewish Museum), and Sarah Lockhart (Co-Founder of 21 Grand and Oakland Art Murmur).
While most of the histories of the Alternative Space movement of the 1960s and 70s focus on New York, the Bay Area was also significantly involved. Our first alternative space, San Francisco’s Intersection for the Arts, was founded in 1965. In the early 1970s, Southern Exposure and New Langton Arts emerged, as well as Site/Cite/Sight (run by artist Alan Scarritt), La Mamelle, Inc./Art Com (run by Carl E. Loeffler), Galeria de la Raza (run by René Yañez and Ralph Maradiaga), San Francisco Camerawork, Kearny Street Workshop, 80 Langton, and Tom Marioni’s Museum of Conceptual Art among others in San Francisco, while 1974 marked the founding of East Bay spaces, Kala Art Institute and Pro Arts.
The alternative space movement presented a fresh alternative to the stagnant and stuffy Eurocentric museums and cultural institutions and the for-profit sales-driven galleries which domineered the art world during this period of time. The alternative space movement rejected the stifling power dynamics of the art world and the commodification of art production. This new model strived to liberate art production by tilting the power lever towards the artist. The artist in this situation, had complete control over their art process, practice and distribution channels. The space itself was typically organized by a collective of artists who were focused on emerging artforms, such as conceptual art, electronic media, performance art, and interdisciplinary work, and wanted a space that wasn’t the stereotypical white cube. Many alternative space organizers also wanted to promote art that addressed politics and injustice, and promote diversity and community at a time where “The Artist” most attractive to and represented by the art world, was a white male solitary genius (e.g. Pollock, Picasso, Dali).
Back to the Bay Area, hundreds of alternative spaces opened in the next four decades, most of which had short lifespans, and weren’t seriously focused on longevity and becoming institutions like their predecessors: Intersection, Southern Exposure, New Langton, etc. The economic state of the Bay Area of the last two decades have made alternative art spaces even more challenging to operate. The panelists will discuss the challenges and achievements of Bay Area alternative art spaces, the impact of technology on creating culture and community here, and the specific changes and issues facing alternative arts spaces and the artists they support.
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While most of the histories of the Alternative Space movement of the 1960s and 70s focus on New York, the Bay Area was also significantly involved. Our first alternative space, San Francisco’s Intersection for the Arts, was founded in 1965. In the early 1970s, Southern Exposure and New Langton Arts emerged, as well as Site/Cite/Sight (run by artist Alan Scarritt), La Mamelle, Inc./Art Com (run by Carl E. Loeffler), Galeria de la Raza (run by René Yañez and Ralph Maradiaga), San Francisco Camerawork, Kearny Street Workshop, 80 Langton, and Tom Marioni’s Museum of Conceptual Art among others in San Francisco, while 1974 marked the founding of East Bay spaces, Kala Art Institute and Pro Arts.
The alternative space movement presented a fresh alternative to the stagnant and stuffy Eurocentric museums and cultural institutions and the for-profit sales-driven galleries which domineered the art world during this period of time. The alternative space movement rejected the stifling power dynamics of the art world and the commodification of art production. This new model strived to liberate art production by tilting the power lever towards the artist. The artist in this situation, had complete control over their art process, practice and distribution channels. The space itself was typically organized by a collective of artists who were focused on emerging artforms, such as conceptual art, electronic media, performance art, and interdisciplinary work, and wanted a space that wasn’t the stereotypical white cube. Many alternative space organizers also wanted to promote art that addressed politics and injustice, and promote diversity and community at a time where “The Artist” most attractive to and represented by the art world, was a white male solitary genius (e.g. Pollock, Picasso, Dali).
Back to the Bay Area, hundreds of alternative spaces opened in the next four decades, most of which had short lifespans, and weren’t seriously focused on longevity and becoming institutions like their predecessors: Intersection, Southern Exposure, New Langton, etc. The economic state of the Bay Area of the last two decades have made alternative art spaces even more challenging to operate. The panelists will discuss the challenges and achievements of Bay Area alternative art spaces, the impact of technology on creating culture and community here, and the specific changes and issues facing alternative arts spaces and the artists they support.
In conversation about the past and future of alternative art spaces: Anyka Barber (Founder and Director of Betti Ono), Patricia Maloney (Executive Director of Southern Exposure and Publisher Emeritus of Daily Serving/Art Practical), Renny Pritikin (curator and museum director in Northern California since 1979, including Co-Director and Executive Director at New Langton Arts and currently the Chief Curator of The Contemporary Jewish Museum), and Sarah Lockhart (Co-Founder of 21 Grand and Oakland Art Murmur).
While most of the histories of the Alternative Space movement of the 1960s and 70s focus on New York, the Bay Area was also significantly involved. Our first alternative space, San Francisco’s Intersection for the Arts, was founded in 1965. In the early 1970s, Southern Exposure and New Langton Arts emerged, as well as Site/Cite/Sight (run by artist Alan Scarritt), La Mamelle, Inc./Art Com (run by Carl E. Loeffler), Galeria de la Raza (run by René Yañez and Ralph Maradiaga), San Francisco Camerawork, Kearny Street Workshop, 80 Langton, and Tom Marioni’s Museum of Conceptual Art among others in San Francisco, while 1974 marked the founding of East Bay spaces, Kala Art Institute and Pro Arts.
The alternative space movement presented a fresh alternative to the stagnant and stuffy Eurocentric museums and cultural institutions and the for-profit sales-driven galleries which domineered the art world during this period of time. The alternative space movement rejected the stifling power dynamics of the art world and the commodification of art production. This new model strived to liberate art production by tilting the power lever towards the artist. The artist in this situation, had complete control over their art process, practice and distribution channels. The space itself was typically organized by a collective of artists who were focused on emerging artforms, such as conceptual art, electronic media, performance art, and interdisciplinary work, and wanted a space that wasn’t the stereotypical white cube. Many alternative space organizers also wanted to promote art that addressed politics and injustice, and promote diversity and community at a time where “The Artist” most attractive to and represented by the art world, was a white male solitary genius (e.g. Pollock, Picasso, Dali).
Back to the Bay Area, hundreds of alternative spaces opened in the next four decades, most of which had short lifespans, and weren’t seriously focused on longevity and becoming institutions like their predecessors: Intersection, Southern Exposure, New Langton, etc. The economic state of the Bay Area of the last two decades have made alternative art spaces even more challenging to operate. The panelists will discuss the challenges and achievements of Bay Area alternative art spaces, the impact of technology on creating culture and community here, and the specific changes and issues facing alternative arts spaces and the artists they support.
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While most of the histories of the Alternative Space movement of the 1960s and 70s focus on New York, the Bay Area was also significantly involved. Our first alternative space, San Francisco’s Intersection for the Arts, was founded in 1965. In the early 1970s, Southern Exposure and New Langton Arts emerged, as well as Site/Cite/Sight (run by artist Alan Scarritt), La Mamelle, Inc./Art Com (run by Carl E. Loeffler), Galeria de la Raza (run by René Yañez and Ralph Maradiaga), San Francisco Camerawork, Kearny Street Workshop, 80 Langton, and Tom Marioni’s Museum of Conceptual Art among others in San Francisco, while 1974 marked the founding of East Bay spaces, Kala Art Institute and Pro Arts.
The alternative space movement presented a fresh alternative to the stagnant and stuffy Eurocentric museums and cultural institutions and the for-profit sales-driven galleries which domineered the art world during this period of time. The alternative space movement rejected the stifling power dynamics of the art world and the commodification of art production. This new model strived to liberate art production by tilting the power lever towards the artist. The artist in this situation, had complete control over their art process, practice and distribution channels. The space itself was typically organized by a collective of artists who were focused on emerging artforms, such as conceptual art, electronic media, performance art, and interdisciplinary work, and wanted a space that wasn’t the stereotypical white cube. Many alternative space organizers also wanted to promote art that addressed politics and injustice, and promote diversity and community at a time where “The Artist” most attractive to and represented by the art world, was a white male solitary genius (e.g. Pollock, Picasso, Dali).
Back to the Bay Area, hundreds of alternative spaces opened in the next four decades, most of which had short lifespans, and weren’t seriously focused on longevity and becoming institutions like their predecessors: Intersection, Southern Exposure, New Langton, etc. The economic state of the Bay Area of the last two decades have made alternative art spaces even more challenging to operate. The panelists will discuss the challenges and achievements of Bay Area alternative art spaces, the impact of technology on creating culture and community here, and the specific changes and issues facing alternative arts spaces and the artists they support.
show less
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150 Frank H. Ogawa Plaza, Oakland, CA 94612
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