Brixton Artists Collective
Encyclopedia
The Brixton Artists Collective took a short lease on an empty carpet shop in Atlantic Road, Brixton
, London
, in June 1983. The three arches were spacious if a little damp. They allowed huge shows to take place which were decided by an open collective of 20 to 50 people. The only membership requirement was that you should simply turn up. Later a voluntary administrator, Andrew Hurman with the help of a committed core of directors, brought some stability to the place for a few more years. Membership cost a concessionary rate of £2 per year. The range of shows that was possible due to the energy of a large collective was extraordinary (a draft list is now up on the discussion page). There were open themed shows like the '1984 Show' as well as shows made by groups with a shared identity.
By October 1983, over 200 artists had the opportunity to show their work. By 1985 the membership had increased to nearly 100. By 1986 it had increased to nearly 200 and nearly 1000 artists had shown work in the gallery.
In June 1985 Stefan Szczelkun initiated 'Roadworks' which was 'ten artists working in public for ten days, documenting the work back in the gallery on a daily basis' (Szczelkun, 1987 p9). One of the artists in Roadworks was Mona Hatoum, another was Rasheed Araeen. Both of these, now eminent figures in the art world, had other shows at BAG.
Whole émigré communities had shows. The most memorable of these was the South African artist community's show in January 1986:
Hazel Carey, one of the forces behind the cultural event, expresses amazement at the 'magnetic' effect that the Exhibition /performances seemed to have on visitors. 'The sound of music - of things happening - drew children and shoppers off the street'.
The South African community had few of the boundaries between art forms that exist in the British contemporary culture. The Art show included music, dancing and food - their culture was still integrated with life and this made a strong impression on all those who became involved.
Teri Bullen arranged the Soweto Sisters 'Patchwork of Our Lives' show in May 1986. Incredibly, she got funding for all the women to come over from Africa to attend the opening in person.
A women's group had formed as soon as the gallery started in the summer of 1983 putting on its first show at the end of November that year. The group put on annual shows which included more than a hundred women. After the second year they self-published a book recording their work.[4] A separate Black Women artists group called 'Mirror Reflecting Darkly' had formed in 1984 and had their first show June - July 1985.
The Brixton Art Gallery supported many hundreds of artists and made their art accessible to the shoppers of Brixton. In 1987 the Gallery closed down due to pressure from the landlord British Rail
to put up the rent; the demise of the Greater London Council
; and a lack of will in the funding organisations. The BAG revived for a while in 1988 in 'Bon March', 444 Brixton Road, and in 1990 moved to a location in Brixton Station Road. It has not been an open collective since 1990. There is no comprehensive history of this period of the collective in print apart from 'Women's Work: two years in the life of a women artists group', Brixton Art Gallery, 1986.
See discussion page for list of shows...
Brixton
Brixton is a district in the London Borough of Lambeth in south London, England. It is south south-east of Charing Cross. The area is identified in the London Plan as one of 35 major centres in Greater London....
, London
London
London is the capital city of :England and the :United Kingdom, the largest metropolitan area in the United Kingdom, and the largest urban zone in the European Union by most measures. Located on the River Thames, London has been a major settlement for two millennia, its history going back to its...
, in June 1983. The three arches were spacious if a little damp. They allowed huge shows to take place which were decided by an open collective of 20 to 50 people. The only membership requirement was that you should simply turn up. Later a voluntary administrator, Andrew Hurman with the help of a committed core of directors, brought some stability to the place for a few more years. Membership cost a concessionary rate of £2 per year. The range of shows that was possible due to the energy of a large collective was extraordinary (a draft list is now up on the discussion page). There were open themed shows like the '1984 Show' as well as shows made by groups with a shared identity.
By October 1983, over 200 artists had the opportunity to show their work. By 1985 the membership had increased to nearly 100. By 1986 it had increased to nearly 200 and nearly 1000 artists had shown work in the gallery.
In June 1985 Stefan Szczelkun initiated 'Roadworks' which was 'ten artists working in public for ten days, documenting the work back in the gallery on a daily basis' (Szczelkun, 1987 p9). One of the artists in Roadworks was Mona Hatoum, another was Rasheed Araeen. Both of these, now eminent figures in the art world, had other shows at BAG.
Whole émigré communities had shows. The most memorable of these was the South African artist community's show in January 1986:
Hazel Carey, one of the forces behind the cultural event, expresses amazement at the 'magnetic' effect that the Exhibition /performances seemed to have on visitors. 'The sound of music - of things happening - drew children and shoppers off the street'.
The South African community had few of the boundaries between art forms that exist in the British contemporary culture. The Art show included music, dancing and food - their culture was still integrated with life and this made a strong impression on all those who became involved.
Teri Bullen arranged the Soweto Sisters 'Patchwork of Our Lives' show in May 1986. Incredibly, she got funding for all the women to come over from Africa to attend the opening in person.
A women's group had formed as soon as the gallery started in the summer of 1983 putting on its first show at the end of November that year. The group put on annual shows which included more than a hundred women. After the second year they self-published a book recording their work.[4] A separate Black Women artists group called 'Mirror Reflecting Darkly' had formed in 1984 and had their first show June - July 1985.
The Brixton Art Gallery supported many hundreds of artists and made their art accessible to the shoppers of Brixton. In 1987 the Gallery closed down due to pressure from the landlord British Rail
British Rail
British Railways , which from 1965 traded as British Rail, was the operator of most of the rail transport in Great Britain between 1948 and 1997. It was formed from the nationalisation of the "Big Four" British railway companies and lasted until the gradual privatisation of British Rail, in stages...
to put up the rent; the demise of the Greater London Council
Greater London Council
The Greater London Council was the top-tier local government administrative body for Greater London from 1965 to 1986. It replaced the earlier London County Council which had covered a much smaller area...
; and a lack of will in the funding organisations. The BAG revived for a while in 1988 in 'Bon March', 444 Brixton Road, and in 1990 moved to a location in Brixton Station Road. It has not been an open collective since 1990. There is no comprehensive history of this period of the collective in print apart from 'Women's Work: two years in the life of a women artists group', Brixton Art Gallery, 1986.
See discussion page for list of shows...
External links
- The new archive on BAG funded by Andrew Hurman
- an active archiving project with 198 Contemporary Art and Learning, Brixton
- Blog on the above active archive project called Brixton Calling!
- A labyrinth made by women artists at Brixton Art Gallery, led by Francoise Dupre. Filmed by Gail Pearce with Annie Pfingst.