Tina Hage, ‘Pancake Greaze I (stack)’, from the series ’The one that couldn’t get away’, 2020. Image Courtesy the artist.
Artist to Watch 29 Apr 2020 By Uma Karavadra

Tina Hage

Hage uses her own body and digital techniques to study the dynamics of crowds. 

John Akomfrah, Untitled (2016). Image courtesy of the artist.
Recent Acquisitions 28 Apr 2020 By Uma Karavadra

The CAS acquires an evocative photograph by John Akomfrah for the Mead Art Gallery, University of Warwick Art Collection

Untitled (2016) is inspired by Akomfrah’s film Auto da Fé from the same year, which follows a series of eight historical migrations due to religious persecution over the last 400 years.

Anne Hardy. Photographer: Erner Klewall
Friday Dispatch 24 Apr 2020 By Caroline Douglas

#CASatHome, with Alice Channer, Anne Hardy and Carey Young

We talk to three artists about the nature of the studio in the current crisis and the working issues faced by artists at practical and creative levels.

Installation view of Mikhail Karikis & Uriel Orlow, 'Sounds From Beneath', 2011-2012. Courtesy the artists.
CAS News 22 Apr 2020 By Marcus Crofton

#CASatHome: Sounds from Beneath, by Mikhail Karikis and Uriel Orlow

This film was online from 12.00, 22 April 2020 to 12.00, 25 April 2020 To mark the 50th anniversary of Earth Day today we thought it would be appropriate to show Mikhail Karikisand Uriel…

Phyllida Barlow. Image courtesy of the RA
Friday Dispatch 17 Apr 2020 By Caroline Douglas

#CASatHome, with Phyllida Barlow CBE RA

We speak to Phyllida Barlow CBE RA in her studio at home in North London to discuss the lockdown and her work. Barlow has a perspective that encompasses four decades of teaching and national accolades including representing Britain at the Venice Biennale, as well as bringing up a family.

Gillian Wearing, 'Statue of Millicent Fawcett', 2018 (detail). Image courtesy of Kevin Percival
Art Consultancy By teamcas

Responding to a changing world

At CAS Consultancy, our work in the public realm has placed social value at the forefront of everything we do – developing opportunities for artists to contribute not only to…

Paul Harrison and John Wood. Image courtesy the artists.
CAS News 15 Apr 2020 By Marcus Crofton

#CASathome: Twenty Six (Drawing and Falling Things), by Paul Harrison and John Wood

In these films, the artists use simple slapstick and concise artistic actions to explore rhythm and synergy within different surroundings.

Lucy Gunning, Climbing Around My Room, 1993. Courtesy of the artist and Greene Naftali Gallery
CAS News 8 Apr 2020 By Marcus Crofton

#CASathome: Climbing Around My Room, by Lucy Gunning

In this iconic work from the nineties, a female figure (not the artist herself) attempts to manoeuvre her way around the edges of a room, ensuring her feet never make contact with the floor.

Lubna Chowdhary. Courtesy of the artist
Friday Dispatch 3 Apr 2020 By teamcas

#CASatHome, with Lubna Chowdhary

This week, we visit Lubna Chowdhary, who creates sculptural objects and site-specific artworks largely in ceramics. During this visit, the artist gives her tips on how to survive working from…

Mark Wallinger, ‘Threshold to the Kingdom’, 2000. Installation for video projection, audio 11 minutes 20 seconds. Video still, courtesy the artist and Hauser & Wirth. © Mark Wallinger
CAS News 1 Apr 2020 By Marcus Crofton

‘By Appointment’: Threshold to the Kingdom, by Mark Wallinger

Donated to Leeds Art Gallery through our Special Collections Scheme, this work can be seen in the context of the artist’s interest in religious themes and national identity.

Alison Britton OBE. Photographer: Toby Glanville
Friday Dispatch 27 Mar 2020 By Marcus Crofton

#CASatHome, with Alison Britton OBE

We visit ceramicist Alison Britton OBE in her studio to discuss her working process, early mentors and taking advantage of the crisis to spend more time in the studio

Caroline Douglas. Photographer: Joe Plommer
CAS News By Caroline Douglas

A letter from Caroline Douglas

There is a sense that nothing can quite be the same again, but the CAS has a 100-year perspective and whilst more will change now, much remains the same.

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