Browsing the news pages here I was surprised, and pleased(!), to read that not only is Sally Tallant about to take over as director of Queens Museum (NYC) but that she also has an OBE. Sally is what I guess […]
3. I left Zurich. On a train. Bound for the alps. I left some smart clothes and anything heavy in a locker at the station. I bought some risotto meals from a Migros in the station, and some methylated spirits […]
The German filmmaker and writer is the first female artist to be named by the ArtReview Power 100 as the most influential person in the art world, although men still outweigh women on the list.
An overview of the types of private and public galleries and organisations that constitute the UK’s art world. Examples demonstrate what drives them, as well as the imperatives of some of the artists who exhibit and develop work for them.
Paulette Terry Brien reveals how a number of national public-funded galleries and organisations have expanded notions of exhibition programming beyond pristine white-walled gallery spaces, and are commissioning artists to make new and challenging work within the institution, as well as off-site.
Beyond the curatorial work established by and presented from within art museums and galleries, a plethora of curatorial organisations operate in order to support and develop the practice of curating. This tour, by Charlotte Frost, examines some of the different remits addressed by curatorial organisations, providing an initial orientation in their hugely diverse activities.
Independent curator Jeni Walwin looks at issues relating to selling work and examines a number of different ways that artists can engage with the art world on a commercial basis.
S Mark Gubb talks to Glasgow’s Mary, Mary about their transformation from artist-led project space to commercial gallery.
Finnish artist Tea Mäkipää’s work confronts her viewpoint of impending ecological catastrophe through interventions and installations positing an alternative vision of existence. By Manick Govinda.
Born in Kabul in 1973, Lida Abdul has returned to live there. Kim Dhillon looks at her practice, working accross various media, that fuses Western formalist traditions with numerous aesthetic influences.
Sara Raza on Grace Ndiritu, a young London based artist who is enjoying an upwards ascent with an impressive portfolio of national and international exhibitions, that present a fresh style of politics and performativity.
Paul Stone on east London based organisation Cell Project Space that across three sites encompasses gallery, studios and internship programme.
International fairs are a great opportunity for researching galleries and making contacts, here is a selection of just some of the 150 showing at this year’s Frieze Art Fair.
As the international art world’s attention turns to London, Eliza Patten previews Frieze Art Fair and some of the events taking place alongside it.
Los Angeles-based curator Julie Deamer talks to artist Chris Johanson and the gallerist Jack Hanley about their mutual admiration for each other.
Jeremy Akerman talks to curator Jeremy Millar and artists Annelies Oberdanner and Tariq Alvi and asks what curators and artists want from each other.
Chris Hammonds looks into an evolving gallery that has become a first step for many young and emerging artists to show in London.
In the second of the ‘Crossing over’ series, Nina Madden meets Kirsty Ogg, Director of London-based organisation The Showroom.
Chris Hammonds looks into Scott Myles practice and discusses how he has worked on self-initiated projects, developed work through residencies, and benefitted from commercial representation.
Jeni Walwin on the artistic achievements of Blast Theory, an internationally renowned artists’ group creating groundbreaking new forms of performance and interactive art that mixes audiences across the internet, live performance and digital broadcasting.
Nils Norman’s practice uses digital illustrations and architectural modelmaking to propose redevelopments of urban sites. Chris Hammonds finds out about his ‘multi-front economy’ based practice.
Hayley Newman works performatively, producing live events, film, video and photography. Sally O’Reilly looks at how she investigates modes of documentation and the historical placement of the genre.
Simon Morrissey cuts to the chase with Cornelia Parker and finds out how she has fought commercial pressures to follow her own artistic agenda.
Rosemary Shirley talks to Tania Kovats about how she sustained her practice through a flexible and diverse approach to working.
A recent forum in Dundee addressed issues surrounding curatorial practice and the relationship between artist and curator. Rob Hunter attended and reports back.
