Space studios, founded by Bridget Riley and Peter Sedgley in 1968, is the oldest continuously operating artist studio arrangement in London. [ 1 ] In addition to providing studios to artists across the city, Space operates a accredit exhibition plan, external residencies and a community-facing learn and participation platform. Space’s establish in 1968, with irregular studios in St Katharine Docks, initiated an flower of artist studio apartment complexes in East End boroughs over four decades, which included Acme Studios, Chisenhale Studios, Delfina Studios and many others. [ 2 ] SPACE has besides had studio apartment buildings in Camden, Deptford, Barking, Soho, and Islington. The concentration of artists that these studio apartment complexes brought to the East End laid the basis for the area ’ s cultural visibility which led, from the 1990s onwards, to its call of having the largest concentration of artists in Europe. [ 3 ] Space is a registered charity supported by the Arts Council England [ 4 ] which runs a variety of department of education projects and provides studios for over 700 artists at 17 sites across London .

history [edit ]

In 1965 Riley and Sedgley had visited a range of artist studios in semi-industrial warehouse buildings in New York, including those of Ellsworth Kelly and Agnes Martin, when the two artists were included in the Museum of Modern Art ’ randomness exhibition The Responsive Eye. [ 5 ] The mind for SPACE emerged from AIR ( Artist Information Registry ). Co-founder Peter Sedgley was first concerned in establishing an representation that would document the work of artists and collate it into a professional ‘ register ’ that would be open to anyone interest in the employment of contemporary artists. [ 6 ]

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In 1968, Sedgley and Riley secured a biennial lease on the ‘ I-site ’ build up in St Katharine Docks for the purpose of artists studios at £500 a year after which it was due to be developed. The build was to firm SPACE and AIR. SPACE provided low-cost studio apartment space to artists in indigence ; and AIR catalogued slides and exhibition data on any artist who wanted to be a part of it and made this available to matter to parties—dealers, curators, collectors. Joining SPACE and AIR were a selection of smaller organisations that needed support of space including Pavilions in the Park and the Printmakers Council. Initial fund for the venture was given by the artist Henry Moore, who donated his respect from the Erasmus Foundation, and grants were given by the Calouste Gulbenkian Foundation and the Arts Council of Great Britain. Riley and Sedgley were joined by Peter Townsend, Professor Tony West and the actress Irene Worth on the management committee. [ 7 ] Artists were selected on a first-come, first-served footing considering the appropriateness of the available studio apartment space to their rehearse. The model that SPACE established was not original and there was an existing group of sculptors working in Stockwell Depot, a disused warehouse near Stockwell Underground Station a well as the previously mentioned informal group of New York studios in the Battery. [ 8 ] But SPACE was the first legally organised artist studio complex in London to draw on the wealth of disused semi-industrial warehouse distance that was growing in number with the global collapse of shipping and industry. After looking initially at the empty Marshalsea prison in Southwark, the warehouse in St Katharine Dock became the “ original for the renovation of London ‘s Docklands. ” [ 9 ] Space and AIR relinquished their occupancy of the St. Katharine Dock space at the end of 1970 and moved artists into two fresh spaces, Martello Street studios in Hackney and a early educate in Stepney Green. Martello Street remains SPACE ’ s oldest studio construction. This began a long and continuing history of leasing buildings for artists ’ studios from a range of public and secret landlords, seeking to find the best deals to allow the quad to be rented affordably to artists. [ 10 ] In 1974, SPACE and AIR formally incorporated as a company limited by guarantee with charitable status, under the umbrella of A.S.G. ( Arts Services Grants, Ltd. ) The charity ’ sulfur first open Studio consequence took seat in 1975, with 14 studio apartment buildings across East, South and North London participate. The event, unique at the meter, would grow and expand in popularity over the following twenty years finally joining with the Whitechapel Open. [ 11 ]

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Space expanded its studio apartment provision through the 70s and early 80s with the support of studio conversion grants given by the Arts Council and funding from secret foundations. With the menace of Arts Council cuts and the uncertainty of the constitution ’ south transfer to the Greater London Arts Association ( GLAA ) in 1986, SPACE organised the Friends of AIR and SPACE as an independent fund-raise group for the organization. The Friends brought meaning financing to the organisations through the 1980s with monies raised through subscriptions and events. A.S.G. circuit board chair Nancy Balfour ( 1982 – 1989 ), the influential american diarist and art collector, took an active character in the Friends from the start and remained involved and personally supportive even after leaving her position on SPACE ’ s board. [ 12 ] Through the late 1980s and into the 90s, SPACE besides efficaciously positioned itself as an important interface between commercial companies and public bodies, representing the interests of artists and the cultural community. [ 13 ]

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Exhibitions [edit ]

Noted for its focus on emerging artwork and historical/projects, since 2009 the exhibition broadcast at SPACE has been curated by Paul Pieroni. [ 14 ] The broadcast has featured exhibitions and projects by a diverse group of artists, including Bernadette Corporation, Raymond Pettibon, Destroy All Monsters, Jamie Shovlin, Kathy Acker, Nam June Paik, Lucky Dragons, Jo Spence, Roy Ascott, LuckyPDF, Mary Barnes, Stewart Home and Hex. [ 15 ] In June 2012, SPACE in collaboration with Studio Voltaire, presented a major two-venue retrospective of British photographer Jo Spence. [ 16 ]

Residencies [edit ]

Space have run several residency programmes in collaboration with the Goethe-Institut, IASPIS, and the creative Space residency at Arlington in Camden. Artists from areas such as Brazil, France, Central Asia and Mexico have taken part in the broadcast which includes short-run and site-specific to year-long residencies .

space Publications [edit ]

  • Artists in the City: SPACE in ’68 and beyond, 2018. (ISBN 9781999927806)
  • Adaptive Actions, ed. Jean-Francois Prost, 2009. (ISBN 978-0-9554060-4-1)
  • 8 Artists Try Not to Talk About Art, 2006. (ISBN 0-9554060-0-5)
  • Kelly Jazvac, Flop, 2009. (ISBN 978-0-9554060-5-8)
  • Pamela Landry, Fixations, 2010. (ISBN 978-0-9554060-6-5)
  • Space Cooks, 2002. (ASIN B001J03O0Y)
  • The Cut, 2011. (ISBN 978-0-9554060-8-9)
  • Emotional Cartography: Technologies of the self, 2009. (ISBN 978-0-9557623-1-4)
  • Douglas Scholes, The Condition of Things, 2012. (ISBN 978-0-9554060-9-6)

References [edit ]

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