On Saturday 25 November 2023 I presented a paper at The British Art Network annual conference titled “British Art After Britain”. My paper, “A Case Study in the International Provincial: EASTinternational, 1991–2009”, was part of the panel “Instituting Amongst: curating at the peripheries” which included presentations Dawn Bothwell (Independent Curator), Gayle Miekle (Newcastle University) and Emma Nicolson (Royal Botanic Gardens Edinburgh). “British Art After Britain” was convened by Marcus Jack in partnership with the Hunterian Art Gallery, University of Glasgow. Professor Maria Fusco was the keynote speaker on “Working-class-ness as method”. To learn more about the conference click here. Below is my proposal. The presentation focussed on the role of the art school for EAST. Here is my proposal:
EASTinternational, often shortened to EAST, was an annual open-submission exhibition selected by invited guest curators – renowned artists, critics and gallerists – that took place at Norwich School of Art and Design, England between July and August every year from 1991 to 2009. Organised by Lynda Morris, it formed a vital part of the Norwich Gallery programme she curated – a gallery located inside the art school.
Known initially as ‘EAST National Open Art Exhibition’, EASTinternational was envisioned as a networked model to be replicated in art schools across the south, north and west of England. EAST became known as EASTinternational in 1995 to reflect its growing international base of applicants and profile. Morris envisioned EAST as an essential component of a sustainable, decentred regional art economy networked beyond the imperial city of London.
Democratic process was a core value of EAST. Except for the stipulation of application by slides, there were no rules for submission: no restrictions on age, location, medium or subject matter. Born of eighties recession and frugality, EAST recognised and valued the extraordinary dormant resources in an art school over the summer months, not only its space but the expertise of its people; artists with experience of practice and exhibiting, designers, technicians and students.
EASTinternational implemented a peer-based approach to exhibition making that centred the artist, while acknowledging its wider network of collaborators. The model and the transnational list of participating artists, curators, critics, interns, technicians, designers and administrators helps us to reflect on decentralisation, regionalism, peripherality and/or transnational solidarities.