Established in London in 2015, Artfield Projects sits at the intersection of art, design (especially the built environment), curating, education and research to support critical cultural production.
AP offers practice-based/led research through an innovative suite of products and services. Perhaps best known for our public events and exhibitions and our workshops and texts, AP’s back-of-house services are in growing demand: administration, management, evaluation, documentation and dissemination.
AP brings together diverse expertise by networking artists, designers, architects, curators educators and project managers with comprehensive experience in supporting and delivering cultural projects. We work with collaborators in the UK, Europe and beyond, from art colleges, galleries and museums to creative industry professionals and independent practitioners. We push and blur the boundaries between art, industry and education.
At the heart of AP is an adventurous spirit and commitment to unlikely collaboration and solidarities. We work across sectors, scales and sensibilities, from big business to micro-local groups. AP bridges gaps to encourage new forms of cultural production. We support heterogenous cultures as shared spaces where seemingly disparate ideas and practices can spark off each other. At AP we believe that encountering difference primes curiosity, learning, insight and appreciation. These are the building blocks of inspired and inspiring worlds for more meaningful living.
For more information visit our services page or email AP’s Director, Marsha Bradfield – email@example.com.
As the Founder and Director of Artfield Projects, Dr Marsha Bradfield rides the hyphen as an artist-curator-educator-fundraiser-researcher-writer and company director.
Marsha founded Artfield Projects in 2015 to explore practice-based/led research in the expanded field. After several years of frenetic activity, we’re changing the cadence of our art-related services. This is thanks to the vital lessons of COVID-19. We’ll resume project planning and delivery (exhibitions, events, publications – increasingly attentive to post-internet [re]presentation) but as a SLOW organisation. This is made possible by our track record for creating meaningful research and development (interviews, focus groups and analysis); writing and editorial support (editing and content production) and art/design/curating-based educational services. Artfield is built on Marsha’s work with Pangaea Sculptors’ Centre as co-director between 2013 and 2018. PSC is a UK-based resource for those creating and collecting sculpture and other forms of three-dimensional work.
As part of her practice of ‘art at large’, Marsha creates events, artworks, exhibitions, curricula, websites, publications and other projects that variously consider the subject of interdependence. Many of these pertain to authorship and/as cultural production. She works with groups including Critical Practice Research Cluster, Precarious Workers Brigade, RadBots, REBEL and the Incidental Unit (formerly the Artist Placement Group and O+I). These experiments often result in understanding that Marsha re-presents in publications, performative lectures and other remixes. Her accounts combine fact and fiction as she works with contexts, ideas, images, objects, processes, sites, structures and more.
Marsha works internationally and has been part of projects connected to Tate Modern (London), V&A (London), 16 Beaver (New York), Wyspa (Gdansk), Berlin Biennial 7 (Berlin), Centre A (Vancouver), ICA (London), The Knot (Berlin), Labor (Budapest), Manchester Art Gallery (Manchester), steirischer herbst (Graz), Summerhall (Edinburgh), Taipei Biennial 2000 (Taipei) and more. Marsha has also authored numerous publications, including ones for The Art of Research II, ArtLeaks Gazette (with Kuba Szreder) and the Journal of Visual Arts Practice (JVAP). She has written two books, ON YOUR MARKS and Sculpting Practice: Catching a Train on the Move – London 2015 (the latter with Lucy Tomlins).
Marsha’s post-doctoral fellowship at Chelsea College of Arts (2013 – 2015) investigated economies and ecologies of collaborative cultural production. It was anchored in #TransActing: A Market of Values and the preceding season of research exploring value(s), valorisation and evaluation. This tracked with Marsha’s ongoing collaboration with Critical Practice, which also informed her practice-based PhD (completed in 2013. Marsha’s thesis proposes dialogic art as an approach to authoring collaborative cultural production, with this dispersed across the artworks, cultures and subjectivities that emerge when artists and others work together.
Marsha holds a PhD and PG Cert from University of the Arts London, a BFA from Emily Carr University of Art and Design, Vancouver, Canada and a BA Honours in History and History in Art from the University of Victoria, Canada. Between degrees, she lived in Taipei, Taiwan, where she worked as a docent at The National Palace Museum while studying Mandarin at National Taiwan Normal University (國立台灣師範大學國語教學中心).
Marsha was born in South Africa, grew up in Canada and has been based in the UK since 2006.
CONNECT: Please don’t follow Artfield Projects or Marsha Bradfield on social media as they’re contientiously inactive. For more information email firstname.lastname@example.org.