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Showing art in alternative spaces, which basically means anything other than a traditional art gallery, is pooh-pooh'd by the art establishment. I think this is silly and reeks of unnecessary elitism! See below for artist Alain Douglas Park's excellent argument for why showing art in an alternative space can be very rewarding. He points out that many established, well-respected art spaces started out as DIY, on-the-fringe spaces. They became respectable because they showed good art! Park also notes that when art is shown in an alternative space, money is not usually the immediate driving force, which encourages experimentation and fresh new ideas. It's really exciting to visit these spaces and stumble on a gem! None of this is to say that I don't support galleries. I love visiting galleries. They've vetted the art and you have a better chance of seeing good work there so they are good places to go when you really don't have time to check out all the little pop-up galleries and DIY spaces. But if you're interested in the thrill of the hunt and if you're interested in supporting emerging artists who are working hard outside the gallery system, check out the alternative spaces.

From "What is the value of working in alternative spaces?" in Studio Chicago:

One would assume from this common association with emerging artists that alternative spaces should be used as mere stepping stones for either the artist in their budding career or the space itself as it finds its place and settles into established adulthood. But that view is a little narrow. If you look at the larger picture, the greater history, most established spaces, galleries, and even museums were alternative at one point. When the gentry of 16th and 17th century Europe started their cabinets of curiosities, the precursors to today’s museums, they were little more than private collections of objects shown to friends. I’m sure the visitors to some of Chicago’s living room galleries would take comfort in the thought that the seemingly mundane environment they are viewing art in is a time-tested argument. And then with the example of White Columns in New York City, Contemporary Artist Workshop in Chicago, both alternative spaces in their origins that have become pillars of contemporary art in their communities, it’s clear that alternative spaces can have staying power. This is all a round about way of saying that the alternatives of today become the first choices of tomorrow. So as an artist it would be unwise to overlook the little guy just because they’re little now. They might grow into giants.

So other than getting in on the ground floor, what other value is there to working with these kind of spaces? Another aspect to alternative spaces is that while usually fiscally conscious they are not entirely about the money. Sometimes it’s the furthest thing from their minds. The art work is the focus. This is flat out refreshing. I’ve shown in many settings, commercial galleries, university galleries, and alternative galleries, and without a doubt the most emotionally satisfying in regards to the kind of work able to be shown has been with alternative spaces. These kinds of spaces can give their showing artists a little more freedom. They don’t have the monetary concerns that some commercial galleries do or the content concerns of some of their university counterparts. Alternative spaces are the venues were you get to do the projects that you’ve always wanted to do, the one’s you know will never sell and which might offend but still need to be made. For me that’s usually my best work.

Read the rest of Alain Douglas Park's essay HERE.

The above photograph by Erica Riccardelli is part of an exhibit called "Orchestrated Misbehavior" showing from February 6 through March 27, 2010, at an alternative art space called Evolve.  Go HERE for more info.