“Ouch Brain.” That’s what Clam Lynch called his art. But let’s not get ahead of ourselves here at 63 Bluxome Gallery. This unassuming spot in San Francisco’s South of Market district has a vibrant history. It is a haven for artists.
63 Bluxome Gallery emerged in the mid-1970s. It quickly became known as an alternative space. John Behanna, Brian McPartlon, Bill Quinlan, Katherine Quinlan, Doug Gower, and Alex Buys were the creators. They wanted a place where artists could show their work in a casual setting.
Back then, SoMa was perfect. It had cheap studios and exhibit spaces. This allowed alternative venues to pop up. Artists could finally show their work. 63 Bluxome Street was the first of its kind here.
How did it survive? Artists rented gallery space for a small fee. Fundraisers also helped. The gallery fostered a strong sense of community.
Thomas Albright was an art critic for the San Francisco Chronicle. He regularly visited 63 Bluxome Gallery. His support helped the gallery and its artists. He helped alternative spaces thrive. This marked a change in art. Presentation and style shifted. Emerging artists had a place to show their art to the public.
Many artists shaped this gallery. They were influenced by instructors from the San Francisco Art Institute. Their unique style helped develop alternative galleries.
This shift reflected the social and political views of artists. Their work didn’t fit in traditional spaces. Alternative spaces started appearing throughout SoMa. It was known as “South of the Slot”. This was because of its location south of the cable car tracks on Market Street.
The artists’ commitment made a difference. Their support of the alternative art movement shaped the Bay Area’s history. It also influenced social movements. The Bay Area gained recognition as a significant cultural center.
In October/November 1974, 63 Bluxome Gallery hosted “South of the Slot”. It was the first show south of Market. December 1974 brought the “Christmas Show”. “20 Artists” followed in late December 1974/early January 1975. This was the Open Studio First Show.
February 1975 featured “Three Painters”. Alex Buys, Doug Gower, and Brian McPartlon were highlighted. March 1975 saw a St. Patrick’s Day benefit. It was called “Life on Earth”. “Best in the West” ran from April to May 1975.
Wally Hedrick’s “Vietnam Series” was shown in June/July 1975. Alfred Frankenstein reviewed it in the Examiner. July 1975 also featured “Two Works”. Joshua Scadron-Wattles presented Reclining Nude 1:1.
Ed Lord and Lucinda Grisham exhibited in September 1975. Later that month, “New Work” featured Fern Friedman, Daniel Goldstein, and Al Nodal. October 1975 included “A Survey of Alternative Art Spaces”. It was Floating Seminar #2. Michael Kreamer’s paintings were also shown that month.
Joel W. Herman presented “Recent Videotapes” in October 1975. Craig Schiller showed “Videotapes” as well. Jay Miracle gave a “Performance”. Wilfred Castano held a “Reading by SF Poets”. Darryl Sapien presented “Videotapes”. November 1975 featured “Dirt to Monsoon, Parts I and II”.
Dominic Alleluia exhibited in January/February 1976. February 1976 had an “8 Artists” group show. Michael Bell, Gregg Brown, and others participated. March 1976 saw a benefit with the Mike Henderson Band.
Katie Collins, Grady McDonald, and Charles Tuggle showed in April 1976. May 1976 featured Pepper, Delos, and Morvitz. Koci exhibited in June 1976. “A Bicentennial Show” was also held that month.
City College Photography was shown in July 1976. August/September 1976 brought “Drawings and Sculpture”. Hank Stevens, Michelle Goodman, and Lisa Siegel were included. Harry Gossage exhibited in September 1976.
Beatrice Hablig and Mark Green showed in October 1976. November/December 1976 featured “Paintings, Drawings, Installations”. Wendy Mascaro, Marion Ketrick, and others participated. Pat Simonton presented poetry. “Friends of Bluxome” closed out the year in December 1976.
The spirit of 63 Bluxome Gallery lives on. It reminds us of a time when artists created their own opportunities. It was a time of experimentation and community. As you stand here today, remember the artists. Remember their passion. Remember their commitment to making art accessible to all.