Artist-run space

An artist-run space is a gallery space run by artists, thus circumventing the structures of public and private galleries. Artist-run spaces have become realised as an important factor in urban regeneration, for example Glasgow, UK.

The two main artist-run spaces from Buenos Aires were Belleza y Felicidad and APPETITE, both set the standards for emerging art in Argentina. APPETITE was a gallery was the first argentinian gallery to be accepted at Frieze, London, and encouraged a lot of galleries to its San Telmo barrio.

Many artist-run spaces exist in Australia. These spaces are often provided with funding assistance by government and state funding bodies. Notable examples of current or recent artist-run projects and spaces include Boomalli Aboriginal Artists Collective in Sydney, Platform artists group in Melbourne and freerange in Perth.

Artist-run centre is the common term of use for artist-initiated and managed organizations in Canada. Centres follow the not-for-profit arts organization model, do not charge admission fees, are non-commercial and de-emphasize the selling of work. The centres were created originally in response to a lack of opportunity to present contemporary work in Canada and a desire to network with other artists nationally and internationally. In the 1990s there were over 100 artist-run centres across Canada. There are currently at least 60 artist-run centres with continuous operating funding.

The primary source of funding for artist-run centres is the Canada Council which has a specific program of two-year operating support for artist-run centres. Most centres also receive funding from the Provincial governments, most of which have an arts council to financially assist individual artists and arts organizations. Centres may also receive funding from their local municipal or city governments. Centres sometimes will secure funding for specific projects from corporations that manage lottery earnings or public and private foundations. Centres have tended not to pursue individual sponsors or patrons, neither corporations nor individuals, in part because they are in a critical relationship with the traditional and established art system of museums which have the resources to pursue that type of support.

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