work only

Space: I Site

Space Leaflet 1973

about: 

In 1968 the artists Bridget Riley and Peter Sedgley, in search of suitable studio spaces for themselves, seized an opportunity to occupy the ‘Ivory Warehouse’ (known as the ‘I’ Site) in St Katharine Dock, near Tower Bridge, E1. (St Katharine Dock had then been taken over from The Port of London Authority by the Greater London Council.)

In need of support, Riley and Sedgely invited a number of enthusiastic people from diverse backgrounds to create a body of Trustees who all had an active interest in the arts: Tony West, Professor of Law at the University of Reading’s Faculty of Urban & Regional Studies; Irene Worth, an actress, ‘passionately’ interested in the arts; Maurice de Sausmarez, Principal of the Byam Shaw School of Art and Peter Townsend, editor of Studio International. After some initial investigations at the Ministry of Housing and Local Government Professor West had deduced that no provision had been made for artists' studios in London describing this as a paradox: ‘...London is, in a way, the centre of the art world but the artists just cannot find a space to work. We want artists, we need them but, they are left to find their own solution...

The enthusiastic group formed ‘Space Provision, Artistic, Cultural and Educational Ltd., S.P.A.C.E. Ltd'. (abbreviated to S.P.A.C.E.) which was non-profit making. It successfully negotiated a two year lease at low rental for the ‘I’ Site from the GLC.
A friend and supporter of the project, Sir Henry Moore, recalls visiting the site with Riley to assess its suitability as a conducive space for artists to work in: 'The building I was taken into had been derelict since the last war. It had a remarkably, romantic feeling about it.’ Archer suggests that '...the range of this support indicates that the venture was, from the very first, identified as a good thing not only within the narrow confines of the art world, but also for the cultural and economic well-being of the community at large'.

from: 'Artists in East London'
online available at: www.acme.org.uk/download.php?pdf=149
(accessed September 2013)

how is/was it run/structured ?: 

what is/was it's legal status ?: 

  • charity

how is/was it funded ?: 

history of the site: 

St Katharine Docks, in the London Borough of Tower Hamlets, were one of the commercial docks serving London, on the north side of the river Thames just east (downstream) of the Tower of London and Tower Bridge. They were part of the Port of London, in the area now known as the Docklands, and are now a popular housing and leisure complex.

St Katharine Docks took their name from the former hospital of St Katharine's by the Tower, built in the 12th century, which stood on the site. An intensely built-up 23 acre (9.5 hectares) site was earmarked for redevelopment by an Act of Parliament in 1825, with construction commencing in May 1827. Some 1250 houses were demolished, together with the medieval hospital of St. Katharine. Around 11,300 inhabitants, mostly port workers crammed into insanitary slums, lost their homes; only property owners received compensation. (...)

The docks were officially opened on 25 October 1828. Although well used, they were not a great commercial success and were unable to accommodate large ships. (...)
The St Katharine Docks were badly damaged by German bombing during the Second World War and never fully recovered thereafter. (...)

Most of the original warehouses were demolished and replaced by modern commercial buildings in the early 1970s, with the docks themselves becoming a marina. The development has often been cited as a model example of successful urban redevelopment. (...)

The area now features offices, public and private housing, a large hotel, shops and restaurants, a pub (The Dickens Inn, a former brewery dating back to the 18th century), a yachting marina and other recreational facilities. (...)

from: http://en.wikipedia.org/wiki/St_Katharine_Docks

address: 

Ivory Warehouse, St. Katherine Docks
50 Saint Katharine's Way
E1W 1LA London 51° 30' 23.4612" N, 0° 4' 18.678" W
GB

total size in sqm/sqft: 

usage: 

previous usage of the site: 

number of studios: 

types of studios: 

  • open plan, private

established: 

1968

vacated: 

1970

last known status of the project: 

last known status of the site: 

The Woodmill GP

The Woodmill GP (photo: Michael Heilgemeir)

about: 

"(...) The first part of this organisation’s name comes from its previous location – the Woodmill building, rundown former council offices in Bermondsey, southeast London, that, from 2009 to 2011, was home to a hundred artists, designers and filmmakers. (...)

During a short period of itinerancy, enforced by the end of the tenancy, the six original studio holders – Naomi Pearce, Stuart Middleton, Anna Baker, Angharad E. P. Williams, Richard Sides and Alastair Frazer – in liaison with their newly founded board of trustees spent many hours working out what the Woodmill should be (as well as searching for a new location – no former primary school, warehouse or empty retail unit was left unturned). The upshot of this was a decision to build the idea of constant flux into the organisation’s character. This resolution was not just a pragmatic one, but also one that resonated with the Woodmill’s desire for perpetual reinvention, for avoiding its own establishment and for eschewing any desire to become an institution with permanent footings. Happily ensconced, for now, in a former doctor’s surgery (which supplies the ‘GP’ part of the new name: ‘general practice’) – in which the old waiting room doubles as a shared studio and temporary exhibition and screening space (dinners, gigs and workshops are on the cards), with each of the doctor’s offices becoming private work digs, including a gratis residency studio – the Woodmill will move on again after one year. And it will voluntarily repeat this annual migration for the foreseeable future. Each time it moves, the Woodmill will evolve: it may become more popular; it will engage with more people; it may get written about more; the gallery footfall may increase; the space it occupies may be larger; it may move somewhere smaller. But by the nature of its instability, it won’t put down roots. It won’t be forced into an upward trajectory. Which, in a world dominated by the socioeconomic buzzwords of ‘growth’ and ‘development’, where artists are categorised as failures if they don’t move from the ‘emerging’ label to ‘midcareer’ or ‘established’, is a pretty grand ideal."

Oliver Basciano (2012), "Off-Space no 9: The Woodmill, London - Entering the Establishment"
online available at: http://artreview.com/features/off_space_no_9_woodmill_london/
(accessed 13 Sep 2013)

how is/was it run/structured ?: 

what is/was it's legal status ?: 

  • charity

how is/was it funded ?: 

history of the site: 

Local GP Surgery

exhibitions, events, workshops: 

'Medulla Oblongata' - Ilja Karilampi (commission)
11.2013- 02.2014

'Boiled Angel' - 18.10.13 - 08.12.13
Artists: Michael Bell-Smith, Max Maslansky, Louise Sartor, Ariana Reines, Mike Diana

'Wendel! Open Your Door', @ Cafe Gallery Projects + Southwark Park, 06.07.2013 – 28.07.2013
artists: Sol Archer, Anna Bunting-Branch, Cindie Cheung, Will Cenci, Beth Collar, Annie Davey, Chris Fite-Wassilak, Alastair Frazer, Patrick Goddard, Anna Gritz, Charmian Griffin, Dean Kenning, Una Knox, Lawrence Leaman, Daniel Lichtman, Will May-Robinson, Stuart Middleton, Laura Oldfield Ford, Naomi Pearce, Sam Porritt, Richard Sides, Frances Scott, Christopher M. Smith, Jennifer Teets, Simon Werner, Angharad E.P Williams

'Robert Crosse: Home Advantage', Screening @ Millwall FC, The Den: 27.04.2013

'Residency #4: Martin Groß', Exhibition + Screening: 11.06.2013
artists: Martin Groß + Emily Richardson with Jonathan P Watts

'Residency #3: Daniel Lichtman / Public Access Television Within a World Systems Pattern of Understanding', Lecture event @ City Business Centre: 27.02.13

'Residency #2: Beth Collar - Ancient Britain', 14.11.2012 – 14.12.2012

'Dickens Dinner': 08.12.2012
Dinner time event by The Woodmill with invited contributions: Lucy Beech & Edward Thomasson, Ben Burgis, Adam Christensen, Beth Collar, Dave Green, Rafael Hefti

'Nobody Ordered Wolves - Screening Series', 22.10.2012 – 03.12.2012

'General Practice', 06.10.2012 – 14.10.2012
artists: Anna Baker, Cindie Cheung, Ben Connors, Annie Davey, Renaud Jerez, Michael Robert Johnstone, Una Knox, Stuart Middleton, Frances Scott, Richard Sides, Simon Werner, Angharad E P Williams and invited guests.

address: 

6-8 Drummond Road Bermondsey
SE16 4BU London 51° 29' 51.6552" N, 0° 3' 43.344" W
GB

total size in sqm/sqft: 

usage: 

previous usage of the site: 

number of studios: 

number of exhibition/project spaces: 

types of studios: 

  • open plan, private

types of workshops: 

established: 

2012

vacated: 

2014

last known status of the project: 

last known status of the site: 

direct follow-up/precursory project(s): 

Transmission Gallery

about: 

A diverse and increasingly high profile art scene has emerged in Glasgow with Transmission at its centre. Transmission provides a place where artists can meet, talk and exhibit along with local and international peers and influences.

Transmission was set up in 1983 by graduates from Glasgow School of Art who were dissatisfied with the lack of exhibition spaces and opportunities for young artists in Glasgow. Through sponsorship and support from the Scottish Arts Council (now Creative Scotland) they managed and maintained a space in which to exhibit their work and the work of a rapidly growing collective of local artists.

They began to invite artists who had influenced them to show in the gallery and become part of this dialogue. The range of contacts grew through projects with similar organisations such as City Racing in London and Artemisia in Chicago and this exchange of ideas has continued with Transmission providing a model for other collectives like Catalyst in Belfast and Generator in Dundee.

The gallery is managed by a voluntary committee of six people. Each member of the committee serves for up to two years and is then replaced. Transmission evolves under the influence of each successive committee member and continues to draw in a young peer group as active participants. The regular changes in the gallery's committee maintain a fluid and varied relationship with developing concerns in the world of the visual arts. The broad perspectives on contemporary culture offered by the individuals involved ensure Transmission's prominent role in these discourses and the gallery is committed to keeping its engagement challenging and current.

how is/was it run/structured ?: 

what is/was it's legal status ?: 

  • charity

how is/was it funded ?: 

exhibitions, events, workshops: 

see www.transmissiongallery.org/archive for a complete list of exhibitions from 1983 until today

additional information: 

Membership: Key to the support and running of the gallery is its membership body. Anyone may become a member of the gallery for a nominal fee that can instead, if preferred, be paid in kind by invigilating an exhibition (if locally based). Members receive a regular newsletter to keep them abreast of gallery activities and upcoming shows and are entitled to submit work to the annual members' exhibition. Members are also invited to submit work for inclusion in the gallery archive which is available for view by visiting curators and researchers. Committee Members since 1983: Alistair Magee, Lesley Raeside, John Rogan, Michelle Baucke, Alistair Strachan (first committee) Gordon Muir, Malcolm Dickson, Carl Rhodes, Graham Johnstone, Peter Thompson, Simon Brown, Douglas Aubrey (second committee) Richard Walker, Jayne Taylor, Tommy Lydon, John Main, Billy Clark, Karen Strang, Gillian Steel, Scott Paterson, Anne Elliot, David Allen, Christine Borland, Mike Ellen, Peter Gilmour, Euan Sutherland, Anne Vance, Douglas Gordon, Craig Richardson, Claire Barclay, Elsie Mitchell, Roderick Buchanan, Katrina Brown, Jacqueline Donachie, Martin Boyce, Simon Starling, Kirsty Ogg, Eva Rothschild, Will Bradley, Toby Webster, Tanya Leighton, Judith Weik, Caoline Kirsop, Toby Paterson, Sarah Tripp, Robert Johnston, Ewan Imrie, Julian Kildear, Lucy Skaer, Sophie Macpherson, Rose Thomas, Alan Michael, Fred Pedersen, Anna MacLauchlan, Danny Saunders, Alex Pollard, Clare Stephenson, Lorna Macintyre, Laurence Figgis, Kate Davis, Gregor Wright, Jane Topping, Nick Evans, Charlie Hammond, Lotte Gertz, Lynn Hynd, Lucy MacEachan, Iain Hetherington, Michael Stumpf, Michael Hill Johnston, Cara Tolmie, Laura Aldridge, Giles Bailey, Tim Facey, Victoria Skogsberg, Conal McStravick, Helen Tubridy, Levi Hanes, Jens Strandberg, Salomeh Grace, Sophie Mackfall, Rebecca Wilcox, Tom Varley, Mark Briggs, Amelia Bywater, Carrie Skinner, Claire Shallcross, and Chris Dyson. This is a list of everyone who has served as a Transmission committee member from 1983 to the present. The second committee entirely replaced the first but after that the groupings are less defined. Some people stayed for the standard two years (occasionally more), others left after a few months. At times there were only two people on the committee, the standard is now six. Your current committee is Darren Rhymes, Emilia Muller-Ginorio, Kari Robertson, Hannes Hellström, John Nicol and Ashanti Harris. - accessed in Sept 2013 -

bibliography: 

Transmission Gallery (2001), Transmission - Committee for the Visual Arts, London: Black Dog Publishing (ISBN10: 1 901033 13 9, ISBN13: 978 1 901033 13 7)
see www.transmissiongallery.org/publications/index for a complete list of publications

address: 

28 King Street
G1 5QP Glasgow 55° 51' 24.6348" N, 4° 14' 48.5952" W
GB

usage: 

number of workshops: 

number of exhibition/project spaces: 

types of workshops: 

established: 

1983

last known status of the project: 

last known status of the site: 

City Racing

City Racing - The Life and Times of an Artist-Run Gallery, London: Black Dog Publishing (book cover)

about: 

City Racing was an artist-run space in Kennington, South London which was active between 1988 and 1998. It was a cooperative by five artists Matt Hale, Paul Noble, John Burgess, Keith Coventry and Peter Owen. They set up the gallery in a former betting shop near the Oval cricket ground, hence the derivation of the gallery name. City Racing became an important and renowned exhibition space; its openings provided a networking opportunity for many artists.

In its later years, City Racing was accepted to some extent by the art establishment, and was viewed by some as a route for artists to other more commercial and established galleries. It was featured in Time Out and City Limits as part of a new alternative art scene happening in London. This led to a benefit for the gallery organised by Karsten Schubert. David Burrows wrote that "in one sense, City Racing refused to be marginalised from the mainstream and had conventional career aspirations.
[source: Wikipedia.org]

City Racing acted as both a social and cultural barometer, charting the various shifts in British art throughout the 1990's. Its legacy provides a useful counterpoint to the widely mediated myth of the 'YBA'. City Racing both prioritised and privileged artists' intentions, giving crucial support and exposure at an early stage in the careers of many artists who would later achieve both national and international acclaim.
[source: undo.net]

how is/was it run/structured ?: 

what is/was it's legal status ?: 

  • co-operative

how is/was it funded ?: 

history of the site: 

bookmaker / bookie / betting shop

exhibitions, events, workshops: 

City Racing featured exhibitions by many artists who went on to find fame including Sarah Lucas, Fiona Banner, Ceal Floyer, Gillian Wearing and Martin Creed. In 2001 the artists were re-united in a retrospective of the gallery at the ICA.

bibliography: 

Burgess, J.; Coventry, K.; Hale, M.; Noble, P.; Owen P. (2002), City Racing: The Life and Times of an Artist-Run Gallery, London: Black Dog Publishing

address: 

Kennington Oval
SE11 5SS London 51° 28' 58.1556" N, 0° 6' 54.6696" W
GB

total size in sqm/sqft: 

usage: 

previous usage of the site: 

number of exhibition/project spaces: 

established: 

1988

vacated: 

1998

last known status of the project: 

last known status of the site: 

Pages

Subscribe to RSS - work only