United Kingdom





The CENTRE FOR THE STUDY OF SUBSTRUCTURED LOSS is now accepting applications for residency programming commencing in 2019. Artists, researchers, and other arts professionals are encouraged to apply.

Candidates are selected annually through an open call application process or in some cases, by invitation. The program supports emerging and established artistic professionals/researchers working in any medium. Residents can continue with existing projects or undertake new research.

The residency program encourages experimentation and the development of multi/interdisciplinary studio work grounded in research within the field of grief and bereavement. The work can encompass and explore varying physical and emotional processes (or loss) that people undergo.

The residency aims to provide working artistic professionals with a platform for research and production; one that may lead to expanded possibilities, collaboration, a broader network, and possibly new works. 

The residency is open to artists, researchers, and other professionals from any country.


***London, UK Autumn 2019-1 (1 Month Program) Deadline: 03 JUN 2019***

London, UK Autumn 2019-2 (1 Month Program) Deadline: 26 JUN 2019

Applied Grief and Bereavement Research
Interdisciplinary/Multidisciplinary Studio

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Margate Film Festival artist commission




Margate Film Festival is a project born out of the turbulence of changing cultural landscapes and a love for the chaos of creativity – a journey through the wilderness of the cinema.

The festival connects local communities and artists with national and international initiatives to create a DIY, collaborative film & visual arts celebration. This year it will expand to include artists moving image, audio-visual installations and a programme of talks, overlapping with the Turner Prize.

The 2019 festival explores the theme of ‘Against The Tide’, collating stories of political and personal change; exploring migration, transformation and evolution of landscapes, and that of both individual and communal heritage and identities.

We are looking to commission new and innovative audio-visual works that take film beyond the screen, as well as talks, installations and educational opportunities.

We are offering grants of up to £1,000 or options for ticket splits. We would expect most pitches to be under £500. The call-out is open to all creatives, local and international, of any background, experience level, medium or style.


Entry Fee:

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Call for venues: Alexandra Reinhardt Memorial Award, Artist Commission 2020




Engage is delighted to announce that applications are now open for venues wishing to host the Alexandra Reinhardt Memorial Award, Artist Commission 2020.

Application deadline: 10am on Thursday 6 June 2019

Galleries, museums and visual arts venues throughout the United Kingdom are invited to submit proposals to host the 2020 Alexandra Reinhardt Memorial Award (ARMA), Artist Commission, worth £15,000. The Award in 2020 focuses on mental health and wellbeing of children and young people. The Award funds an artist (or artists) to conceive and deliver a project which engages children and young people. It is hoped the project will have an outcome such as an exhibition, performance, art commission or public sharing. A further £3,750 will be made available to the host organisation to cover their costs.

Applications are invited both from organisations with experience of working with artists on participatory projects or education and learning programmes, and those with little experience and for whom this would be a good opportunity to develop work in this area.  

To apply to host the Alexandra Reinhardt Memorial Award, Artist Commission 2020 please complete the application form in full and submit it by email to info@engage.org by 10am on Thursday 6 June 2019. Please use the subject line ‘ARMA 2020 Host Organisation Application’.



ARMA was established in memory of the artist Alexandra Reinhardt and is supported by the Max Reinhardt Charitable Trust. Engage has manged the award since 2012.

Artist Lindsey Mendick completed ARMA 2018 at The Turnpike, Leigh; Alison Carlier ARMA 2016 at aspex, Portsmouth; Anne Harild, ARMA 2015 at the Bluecoat, Liverpool; in 2014, Maria Zahle was hosted by New Walk Museum and Art Gallery, Leicester and in 2013, Elpida Hadzi-Vasileva was at mima, Middlesbrough Institute of Modern Art. For further information on ARMA 2013–2018 see: www.engage.org/arma

For further information on ARMA 2013–2018 see: www.engage.org/arma


About Engage

Engage is the lead advocacy and training network for gallery education, with some 870 members across 270 museums, galleries and visual arts organisations. Members include national, local authority and independent museums and galleries, and freelance education professionals throughout the UK. Engage has well-developed programmes in England, Scotland and Wales, and focuses on four areas of work: research and activities, continuing professional development, sharing practice, and advocacy. Engage as an Arts Council England Sector Support Organisation NPO, receives project funding from the Arts Council of Wales and is an Annual Client of Creative Scotland.


Entry Fee:

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Call for Artists - A5 Portfolio #28 (July 2019)




A5 magazine wants to try and shine a light on some of the amazing artists working today. We are now taking entries for the July edition of the zine.

Brief: send us a large digital image of your work. Also send us any information you think is relevant. Any text needs to be kept brief as we get hundreds of submissions.

Deadline: 5th July 2019


Entry Fee:

Fee Detail: 
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Call for proposals — Engage Journal 43: Profession and Practice (working title)




The outline below, stimulated by a discussion with the Engage Journal Editorial Advisory Board (EAB), is followed by a series of questions. Please address these or use them as prompts in proposals for articles.

This year Engage marks thirty years advocating for and supporting visual arts and gallery education. Appropriately, this issue celebrates the development of the profession, and pays tribute to key figures that have conceived, developed and analysed gallery education pedagogies and practice. Given the maturity of the sector, it is not surprising that many of these key figures are enjoying retirement, pursuing personal projects or nearing the end of their formal careers; Sue Clive, Felicity Allen, Vivien Lovell, Jenni Lomax, Helen O’Donoghue, Veronica Sekules, Lindsey Fryer, to name a few.

While looking back, this issue also aims to pinpoint work that currently defines gallery education and what motivates people to enter the profession now. This year is a time to take stock of all that has been achieved, and what the sector values in moving into the future.

In the editorial for issue 35 of the Journal, which marked the twenty-fifth anniversary of Engage, Karen Raney described the context and conditions for the emergence of ‘gallery education’. The community arts movement and investment in cultural organisations for example, were crucial, but it was the vision and personal world-view of individuals that enabled the distinct practices to grow. These individuals included artists, art historians, curators, educators and academics “interested in the liberatory and inclusive agenda of community arts, de-schooling or feminism found their way into museum and gallery education … As gallery education is not statutory or regulated, and has no age progression, it was, and continues to be, seen as a site where greater educational freedom and experimentation can take place”.[1] Engage was established in 1989 to recognise and support this growing profession.

Thirty years on ‘gallery’ education — which always included museums — has burst out beyond the walls and is a rich and diverse field. Supporting schools and the curriculum has always been the foundation of education in museums and galleries aimed at resourcing teachers, providing experience of real objects and works of art, and enabling children and young people to access cultural institutions.

Looking back, Toby Jackson was appointed at Modern Art Oxford in the 1980’s, specifically to work with schools. He went on to be Head of Education and Public Programmes at Tate Liverpool 1988–1999, and Head of Interpretation and Education at Tate Modern 1999–2005 and throughout energetically promoted the importance of work with schools,[2] as have educators at numerous other galleries and museums internationally. The Arts in Schools: Principles, Practices and Provision,[3] commissioned from Ken Robinson by the Gulbenkian Foundation in 1982 has been enormously influential. Pier Arts Centre Orkney is also celebrating 30 years this year. Engage Board member Carol Dunbar is Education Officer and has set up long term relationships with local nurseries and schools.

However, the categories of practice have grown and expanded, through innovatory artists, educators and leaders of cultural institutions, with different areas of interest and expertise. Now gallery education embraces ‘socially engaged practice’ and ‘participatory practice’ — practice that has grown out of the community arts movement and through political activism to increase diversity of audiences, artists and the workforce, and a focus on specific artists’ practice. SPACE, a disability-led arts organisation, is currently celebrating its fortieth anniversary.

The aim to increase cultural diversity in all aspects of cultural life has been spearheaded by organisations such as Iniva and Autograph. More recently the LGBTQIA+ movement has come to the fore in recent years, given urgency by the high levels of mental illness in these communities. Giving agency to audiences has been a key objective.

This is by no means an exhaustive list and it is invidious to list names. It is important to recognise leaders — who have not been educators — who have supported and enabled gallery education to develop and thrive. This list includes Sir Nicholas Serota who has supported education as Director of the Whitechapel Gallery 1976–1988 and Tate 1988–2017, Declan McGonagle at the Irish Museum of Modern Art 1990–2001, and Professor Mike Tooby when curator at Third Eye Glasgow, Keeper at the Mappin Gallery Sheffield, before becoming the first director of Tate St Ives, 1992–1999.

The profession has also benefited from academic research and writing. People including Veronica Sekules and Maria Xanthoudaki, Carmen Moesch, Jocelyn Dodds, Eileen Cooper Greenhill and Emily Pringle have led critical debate, provided context and proposed frameworks for practice. A list could be lengthy but publications that have had a particular impact include Moving Culture by Paul Willis,[4] and Neither Use nor Ornament by Francois Matarosso.[5]

Engage and the Journal’s editorial board want to know who you in the profession regard as innovators, who have informed and inspired the work you do. The quick summary above is mono-cultural and dominated by women, so this Journal should seek out the other influencers in what is a generous and collaborative field.


  1. https://engage.org/engage35
  2. https://www.amazon.com/Critical-Studies-Modern-Art-Dawtrey/dp/0300067984
  3. https://gulbenkian.pt/uk-branch/publication/the-arts-in-schools/
  4. https://www.goodreads.com/book/show/2803778-moving-culture
  5. https://www.academia.edu/1272437/Use_or_Ornament_The_social_impact_of_participation_in_the_arts

We are interested in contributions from colleagues in the UK and worldwide that reflect on the development of gallery education policy and practice, highlighting the contribution of key individuals. Proposals should address questions such as:

  • What have been the key developments in gallery education practice in museums and galleries over the last 30 years and who have been the innovators?
  • Gallery education emerged alongside the community arts movement, which strove to effect social change and cultural democracy through the arts. In what ways have gallery educators been able to ‘make a difference’?
  • Who are the key figures that have shaped gallery education, and what are their lasting achievements?
  • What has been the role of leaders in galleries and museums who have supported education and participation?
  • How have path breaking gallery educators supported colleagues coming into the profession?
  • What areas of practice or specific projects are currently inspiring to gallery educators?
  • Citing examples of important gallery educators and others who have developed the field results in a monocultural list. Has the sector succeeded in diversifying the sector workforce to any significant extent?

Issue timeline:

  • Proposals deadline: 10am, Monday 3 June 2019
  • Finished article deadline: 10am, Monday 8 July 2019 (TBC)
  • Engage 43: Profession and Practice (working title) will be published in Autumn 2019

Entry Fee:

Contact & Links: 

Making Marks; Art on the wall - Summer show



Call for Open Art - A collaboration of artists to take part in Unit 6 Studio & Gallery's summer show. Any art, any theme, any medium!

This is a call for a collaboration of artists to take part in Unit 6 Studio & Gallery's Summer show. *Open them and style*


Please read the listing carefully.

Please read the FAQs!

Please research the Gallery and the space available.

A unique opportunity to be part of a collaborative exhibition. Based in Richmond, North Yorkshire, Unit 6 studio is an open studio and gallery who offer workshops, art sales space and exhibition opportunities. The Resident artist and curator is Lou Gilmore-George. 

Lou has successfully exhibited nationally and internationally and has been a practicing artist for 12 years. 

The space is in a busy trading area and Lou, the resident artist and Director, has a strong following with links to art galleries, other artists, community interest and charitable organisations. Her portfolio includes working with East Atreet Arts, Skippko and Empty shop (Durham).

The emphasis of this exhibition is 'open' and we welcome and form pf art form. All successful artists are required to pay a fee of £35 to cover advertising and promotional costs as well as covering the curators time. Payment to be made via Paypal friends and family.

The exhibition will run from 10th June until 26th June. 11am-2pm weekdays. Saturday upon request.

International and national artists can apply but please be aware that it is the artists responsibility to get the artwork to the curators and postage back after the exhibition. 

There is NO COMMISSION taken on sales. If a piece of work sells then there is no fee to replace that piece of work with a new item. The fee is a one off payment. All artists should have Public Liability Insurance in place and are responsible for the delivery and collection of their work to the venue. Unit 6 does have its own insurance in place.

They may be a small fee for sales made with debit and credit cards of 2%


Whatever marks you make in art, whether its digital, photographic, textile, paint or pencil ...we want you


Entry Fee:

Fee Detail: 
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