History
In 1975 San Francisco’s art scene reached a turning point. A substantial enough number of younger artists working in the new mediums of performance, installation, video, and interdisciplinary projects was reached, and they identified themselves as a community. Local commercial galleries and museums were not showing these art forms, and artists and their supporters were organizing various opportunities for each other on an ad hoc basis. For example, a series of performance events were held in 1974 in a vacant industrial space on Bluxome Street. When artist Jock Reynolds purchased and renovated a former coffin factory at 80 Langton Street, he made the ground floor available for a new organization to support new work.
Inspired by models in New York and elsewhere (Artists Space, Portland Center for the Visual Arts, Los Angeles Institute of Contemporary Art) that were committed to artist control, artist financial support, and support of artists by other artists, the not for profit 80 Langton Street Corporation was created in 1975 and opened its doors in July 1975 with a one person video installation by artist Peter D'Agostino. Signers of the corporate documents included Judith Dunham, then editor of Artweek, David Robinson, architect, and gallerists Ruth Braunstein and Diana Fuller. A Board of Directors made up of artists and arts professionals took control.
New Langton Arts emerged into a local ecology that already or soon would contain peers such 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 Rene Yañez and Ralph Maradiaga), San Francisco Camerawork, Southern Exposure, Tom Marioni’s Museum of Conceptual Art among others. All these organizations shared some of the ideals mentioned above. These emerging arts organizations were an extension into the fine arts realm of alternative organizations of the era that sought to inplicate themselves between producers and consumers in ways that bypassed traditional distribution methods, whether in education, food, or information distribution. Furthermore these New Left ideals extended to giving artists power over their fate using a participatory democracy model.
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