Profile - a-n The Artists Information Company

Ella Kruglyanskaya, How to work together, installation view, 2014. Courtesy: the artist and Studio Voltaire, London; Photo: Andy Keate
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Artist-led: Studio Voltaire

Founded by a group of artists in south west London as a studio space in 1994, Studio Voltaire currently operates under a multiplicity of different guises. Art researchers Doggerland reflect on the organisation’s hybrid structure, and speak to its head of development and communications Niamh Conneely about the many different modes Studio Voltaire employs to support artists’ careers.

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Kira Freije, The Dark Away, 2017. Photo: Stuart Whipps
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Artist-led: Recent Activity

Based in Birmingham’s growing cultural quarter Digbeth, Recent Activity seeks to contribute to the area’s artist-led scene without replicating the activity of its more established spaces. Art researchers Doggerland speak to one of the organisation’s founders Andrew Gillespie about working within manageable parameters to offer “something a bit different” to the area.

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Cubitt Artists at Goods Way, London 1992. Courtesy: Morgan Quaintance
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Cubitt 25 years: an artist-led history

Morgan Quaintance’ documentary explores Cubitt studios, Cubitt gallery and Cubitt education, taking a look at the history and present of the London-based organisation, its previous curators, artists and others who have been involved, as well as glimpsing into its possible future.

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Artist-Led Hot 100 (version ii) logo. Design: Sam Jones. Courtesy: Kevin Hunt and Sam Jones
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Artist-Led Hot 100 (version ii)

Kevin Hunt has created a new Artist-Led Hot 100 to celebrate some of the most exciting artist-led activity that has emerged during the past four years, since his original Hot 100 long-list was produced in Summer 2013. Focusing on projects that are “by artists, for artists”, the list highlights artist-led initiatives around the UK that are visibly active right now.

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Symposium 'The giver, the guest and the ghost: the presence of art in public realms'. General views, Oslo Pilot, 2016, Oslo. Photograph: Ane Mari Aakernes
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Oslo Pilot: the giver, the guest and the ghost

Oliver Bennett reflects on the challenges of introducing art into the public realm, following his attendance at Oslo Pilot’s symposium, as the city seeks to challenge the existing biennial format and enable new dialogues with its public space.

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Paul Evans, Chaos and Theory with Humanstudio, window projection, Sheffield Institute of Arts Gallery, Sheffield, 2010.
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Paul Evans on socially engaged collaborations in HE

Artist Paul Evans discusses how his work became aligned to the research undertaken within universities and how his socially engaged practice has enabled academics and the public to better understand the nature of university research. Based on an interview by artist Steve Pool.

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Aimee Walker, Sādhaka, 2016. Exhibited as part of ‘Launch Pad: Manchester School of Art 2015’ at Castlefield Gallery Manchester.
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Kwong Lee on partnerships between galleries and universities

Kwong Lee of Manchester-based Castlefield Gallery discusses how the gallery works with universities in the city in to provide professional development support to students and contribute to cultural policy research, and offers his views on practice-based research and PhD programmes. Based on an interview by artist Steve Pool.

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Anthony Schrag, Lure of the Lost: A Contemporary Pilgrimage, 2015. Photo: Stuart Armitt
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Anthony Schrag on practice-based PhDs

Having developed a practice based around working with people in a participatory manner, in 2015 Anthony Schrag completed a practice-based PhD exploring the relationship between artists, institutions and the public within participatory public artworks. He discusses his reasons for undertaking a PhD, and gives advice to artists considering this option. Based on an interview by artist Steve Pool.

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Blogger profile: Ali Reed

Ali Reed joined the Degrees unedited blogs in November 2012, since then we have seen her work develop site-specifically and professionally. Here she tells us of her plans for degree shows at Staffordshire University.

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Blogger profile: Catriona Meighan

After joining Degrees unedited in February 2013 Catriona Meighan has explored book works and large scale installations during her time at Edinburgh College of Art. In time for degree shows she tells us of her aspirations for negative space.

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Joshua Tyson
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Blogger profile: Joshua Tyson

After keeping his video blog on Degrees unedited since November 2012, Joshua Tyson tells us of ‘The soap factory’ and its culture, in time for degree shows at University Campus Suffolk.

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Jasper Weinstein Sheffield
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Blogger profile: Jasper Weinstein Sheffield

After joining Degrees unedited in March 2013 Jasper Weinstein Sheffield has showed us there’s much more to his conceptual approach than a blade of grass. He tells us more as prelude to degree shows at Northumbria University.

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Post Match: Spain, Palace, red
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Leo Fitzmaurice

Lauren Healey talks to Northern Art Prize 2011 winner Leo Fitzmaurice about objectness, appropriation and his time-intensive research process.

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Sikander Pervez
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Blogger profile: Sikander Pervez

We catch up with Sikander Pervez, as he enters his final term at Staffordshire University, to talk material, machinery and the function of repetition in his practice.

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Robbie Lockwood and Stefan Szczelkun

Video of artists Robbie Lockwood and Stefan Szczelkun discussing sustaining their practices, the benefits and challenges of working in collectives and radical approaches to education groups.

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24/7, detail (exterior)
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Career profile: Kevin Harman

After a busy 2012 of solo shows, festivals and art fairs; we talk to Scottish artist Kevin Harman about his career since graduating from Edinburgh College of Art’s MFA in 2010. And pick his brain on art education today.

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Val Jones
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Blogger profile: Val Jones

We talk to third year student Val Jones as she secures her own voice through painting, in time for 2013 degree shows at University Campus Suffolk.

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Katharine Meynell and Aaron Williamson

Video of artists Katharine Meynell and Aaron Williamson discussing shared interests in their practices, identity politics and shifts in education, funding models and public perceptions of art.

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