For this follow up to her Approaching galleries guide, Jennie Syson asked artists, arts managers, curators and gallery directors to share their top tips, and dos and don’ts advice.
Jennie Syson offers some advice on approaching galleries, through setting out the different research routes and methods you might use.
Although this year’s Frieze London art fair, which continues to Sunday 7 October, feels a little more restrained than usual, there’s still room for wildly odd and raucously sardonic works. Chris Sharratt reports from the Regent’s Park tent.
One of Scotland’s key commercial galleries for contemporary art marks its 20th year with a new home in a former Glasite Meeting House in the city. Jessica Ramm reports.
Rachel Howard’s paintings reference an unstable and violent world, drawing on political events and the devastation of war. With two current London exhibitions at Blain Southern and Newport Street Gallery, Fisun Güner talks to the artist about what inspires her work and how her early experience painting spots for Damien Hirst influenced her approach.
A weekly briefing featuring national and international news, including: Miami arts institutions prepare for Hurricane Irma and rare Monet artefacts to be sold at auction.
The London gallery that represented artists including Bedwyr Williams, Sean Edwards and Holly Hendry has closed.
Ingleby Gallery, which represents 26 artists including Charles Avery and Katie Paterson, is to sell its home for the last eight years and move into a smaller, less costly space.
The art dealers Iwan and Manuela Wirth top this year’s ArtReview Power 100, which lists those judged to be the most influential people in the international art world.
The inaugural North festival of contemporary art opens in Warrington in October with a series of city pavilions and an exhibition that invites artists’ responses to Ikea. Laura Robertson speaks to some of the artists involved and the London-based gallerist behind the event.
The director of Hauser & Wirth Somerset, which opened to the public in July, reflects on a busy time that saw two years of planning and development come to fruition.
Riveting analysis of how commercial representation worked for both artist and dealer. Includes details of their contractual arrangements, the type of support that Gimpel Fils offered beyond exhibiting and sales, and the warmth of the relationship. Hepworth is shown to […]
With galleries in Zurich, London and New York and a stable of international artists, many will be familiar with art dealers Hauser & Wirth. The power couple’s decision to base their latest venture in the picturesque town of Bruton, Somerset, however, might take some by surprise.
Is Frieze Art Fair useful in any way to artists and is it good for artists and art? Filmmaker, artist and Frieze first-timer Gillian McIver roams the gallery booths and curated projects at the fair’s vast Regent’s Park marquee and finds the experience useful, enlightening and at times troubling.
In the first of four Reith Lectures for BBC Radio 4 titled Democracy Has Bad Taste, artist Grayson Perry explored the question of who determines what is ‘good’ art, and why.
This year’s Frieze Projects, the curated programme at Frieze London art fair, is programmed by former senior curator at Serpentine Gallery, Nicola Lees. We talk to her about this year’s artists and presenting work in an art fair context.
This week is ‘Frieze week’ in London, and as well as the internationally recognised Frieze Art Fair in Regent’s Park, the city will be awash with other fairs, some artist-led and focused, some themed, and some unashamedly commercial.
One of London’s best known art meccas faces an uncertain future following the decision by Westminster Council to redevelop the area into luxury apartments.
Emilia Telese’s opening essay offers analysis of the markets for art in the UK highlighting the ‘contradictions and idiosyncrasies’ of the relationship between artists and money,
Trade off draws on intelligence gathered at the NAN Roadshow events focused on themes around the art market. Emilia Telese’s opening essay offers analysis of the markets for art in the UK and introduces the set of newly commissioned articles […]
Charlie Fox’s critical response to the different positions taken up by dealers and curators vs non-object based artists within the art market.
Ayling & Conroy survey the motives and trends that effect how UK commercial galleries select artists to exhibit.
Ken Pratt gives an overview of the international art market from a curator’s point of view.
