Case studies: Beyond the Campus
The role of artists’ studios in supporting and extending HE provision: 'a space' arts SouthamptonAccording to NFASP, the National Federation of Artist Studio Providers, there are currently about 6000 work space opportunities for artists and at least 550 studio providers in the UK. As David Powell, Director of NFASP, claims these are largely based in and around major cities, but not exclusively. One of their goals is to help establishing artist communities in places where there is no obvious market-driven demand, which is crucial for embedding a cultural network there to develop local expertise in fields reaching from visual arts to digital media.
Most importantly after leaving college, artists need space to develop a professional practice. This steady demand for work space can often be fulfilled as redundant buildings become available, which then find temporary or perhaps long-term use by being turned into artist studios. This, however, has to be negotiated with property developers and urban planners, and is highly dependant on the local property cycle (only very few buildings are owned by artists and providers). Through the NFASP initiative, studio affordability is monitored and kept at a third of commercial cost to meet artists needs. |
Related case studies
Presentation & PodcastListen (min 13:00) to Daniel Crow, Director of 'a space' arts in Southampton, who presented at our Third Workshop in Birmingham – or download his presentation: ‘a space’ arts –supporting emerging artistic talent
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Studio providers have often emerged as grass-root and absolutely self start initiatives. From the 1960’s onwards groups of artists have been squatting in buildings, making temporary use and pragmatic accommodation with whatever property was available. Then over the years that has become a hugely sophisticated market backed up by very savvy groups of people with great expertise in producing very large numbers of affordable space. This expertise, however, has not always been recognised by property developers and estate management teams especially in the context of universities, as David Powell notes. Studio providers need to be valued and nurtured within the current planning system. In collaboration with universities, studio providers can generate different kinds of work space and engagement with communities in which they are based. Their expertise has the capacity of holding an important advisory role in the field of urban regeneration and alternative/temporary building use.
'a space’ – growing creative communities in Southampton
'a space’ is an artist studio provider and arts charity whose mission it is to "grow creative communities" in Southampton. Frustrated with limited opportunities and work space for emerging artists in and around the city, the organisation's founding members decided to bring about long-lasting change with setting up ‘a-space’ in July 2000. Since then they have created a large number exhibitions and workshop space, before moving into their HQ at Bargate Monument Gallery, a scheduled ancient monument located in the centre of Southampton.Throughout their time at Bargate, the organisation was able to grow a substantial project portfolio that now consists of studios, galleries and professional development opportunities. This has added a new dimension to the city’s cultural offer, stimulating interest and inclusion at a grass roots level through creating opportunities for artists and the public to engage with cultural activities.
Interview with Daniel Crow, Director of ‘a-space'
How do your studio projects link with HE?
We established ‘a-space' when I graduated from Southampton Solent University in 2000, and I set up an artist-led gallery space in Southampton. The core mission here was to support emerging artistic talent. So, the Arches, our first studio project we established in 2005 with four converted Victorian railway arches. The key aspect in relation to HE, is that we rent the fourth arch to Southampton Solent University, who pay a commercial rent on the space to use it for life drawing and other kind of associated parts of their courses. The commercial rent help us to keep our other 23 studios there at affordable prices. So there is the financial link and model there.
Tower House complements the Arches, where it’s a clean space for screen-based practices. At the Arches you can make a mess. The link here with HE, is that our offices are based there and we have run a successful internship program with Southampton University. And one of the interns – this is kind of exceptional – because of the great work he’s done with us, we couldn’t let him go. He stayed on and he is now one of three team members.
The Sorting Office based in Eastleigh opened in March 2013. It focuses on designers and makers and here HE – we are blessed we have four universities in the region – were very supportive not just of our work but of the sector in general. And in this case, all four universities have a role on the board/the steering group. So they play a role in governance and advocacy, and through financial contributions.
Are there any future studio projects in the pipeline in collaboration with HE?
For the next academic year, we are planning to develop a new partnership with Southampton Solent University. We are looking to co-locate and take over the third and fourth floors of and empty department store. Effectively the university are planning us in with 10 studio spaces. This is really important as it allows artists at the other spaces to move on, creating more spaces for new graduates to come in and also giving the current cohort of artists a pathway and ambition to aspire further.
Again, we are extremely lucky to have four universities in our region. For an independent charity like us this is incredibly important, because of the financial muscle that they can have as well as through their buildings, experience and advocacy. But most of all, the universities are actually the ones that are generating the next cohort of artists. They are producing thousands and thousands of creative graduates every year. So for us to work with them, gives us a lifeline to keep on doing what we are doing.
We established ‘a-space' when I graduated from Southampton Solent University in 2000, and I set up an artist-led gallery space in Southampton. The core mission here was to support emerging artistic talent. So, the Arches, our first studio project we established in 2005 with four converted Victorian railway arches. The key aspect in relation to HE, is that we rent the fourth arch to Southampton Solent University, who pay a commercial rent on the space to use it for life drawing and other kind of associated parts of their courses. The commercial rent help us to keep our other 23 studios there at affordable prices. So there is the financial link and model there.
Tower House complements the Arches, where it’s a clean space for screen-based practices. At the Arches you can make a mess. The link here with HE, is that our offices are based there and we have run a successful internship program with Southampton University. And one of the interns – this is kind of exceptional – because of the great work he’s done with us, we couldn’t let him go. He stayed on and he is now one of three team members.
The Sorting Office based in Eastleigh opened in March 2013. It focuses on designers and makers and here HE – we are blessed we have four universities in the region – were very supportive not just of our work but of the sector in general. And in this case, all four universities have a role on the board/the steering group. So they play a role in governance and advocacy, and through financial contributions.
Are there any future studio projects in the pipeline in collaboration with HE?
For the next academic year, we are planning to develop a new partnership with Southampton Solent University. We are looking to co-locate and take over the third and fourth floors of and empty department store. Effectively the university are planning us in with 10 studio spaces. This is really important as it allows artists at the other spaces to move on, creating more spaces for new graduates to come in and also giving the current cohort of artists a pathway and ambition to aspire further.
Again, we are extremely lucky to have four universities in our region. For an independent charity like us this is incredibly important, because of the financial muscle that they can have as well as through their buildings, experience and advocacy. But most of all, the universities are actually the ones that are generating the next cohort of artists. They are producing thousands and thousands of creative graduates every year. So for us to work with them, gives us a lifeline to keep on doing what we are doing.
(edited by Silvie Jacobi)