London-based artist Liz Atkin creates work both in response to and as way of coping with compulsive skin picking. Alistair Gentry finds out more about her art practice, and the advocacy and education work she undertakes to help others understand and deal with this and other body-focused repetitive behaviour conditions.
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Originally from Germany, Glasgow-based painter Cornelius Quabeck first spent time in the city during a two-month artist residency in 2011. He talks to Dan Thompson about living and working in Düsseldorf, London and San Francisco, and the reasons that brought him back to Scotland in 2016.
In 2015, Scottish artist Paul McDevitt set up Farbvision, a project space in Berlin’s Prenzlauer Berg district that presents solo exhibitions and is also home to the INFINITE GREYSCALE record label. He talks to Dan Thompson about his reasons for relocating from the UK, and the artistic freedom and financial reality of life in his adopted home.
The Bethlem Gallery in Bromley provides a professional platform for artists who have experienced mental health difficulties. Alistair Gentry speaks to the gallery’s director Beth Elliot about the organisation and how it fosters a supportive artist-focussed environment.
Hospital Rooms is an arts and mental health charity that believes in the enduring power of the arts to instil value, dignity and wellbeing in people. Alistair Gentry speaks to Curator Niamh White about how the project enables access to art and culture for people using secure and locked mental health services.
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.
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.
A psychogeographic opening up of the city through an aural tour of artist-led venues and other listening points of historical and cultural interest.
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.
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.
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.
Leila Alexander, of White Cube and Leila Alexander Consultancy, discusses top tier art market activity and considers London and her experience of the blue-chip gallery system in relation to the infrastructure of Manchester and the wider North West region.
Art fair co-director Liv Vaisberg discusses the ecology of Brussels and how recent press attention has reframed the city anew, in relation to the growth of the art market.
Alys Williams, Director of VITRINE, London, discusses her recent gallery expansion to Basel and how the city is a key player in international market activity.
Paulette Terry Brien chairs a panel discussion with Leila Alexander, Liv Vaisberg, and Alys Williams, exploring the ecology of key art market centres in relation to the context of Manchester and the North West of England.
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.
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.
Kate Pahl, Professor of Literacies in Education at University of Sheffield, discusses what artists bring to academic research projects, and identifies some of the challenges artists and academics face when working together. Based on an interview by artist Steve Pool.
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.
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.
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.
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.
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.
Lauren Healey talks to Northern Art Prize 2011 winner Leo Fitzmaurice about objectness, appropriation and his time-intensive research process.
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.