I am currently developing a new website for Artfield Projects Limited, which will launch at artfieldprojects.com in the early fall of 2018. In the interim, here is some information about me.
Marsha Bradfield rides the hyphen as an artist-curator-educator-fundraiser-researcher-writer and company director. In 2015 she founded Artfield Projects Limited to provide art-related services. These include project planning and delivery (exhibitions, events, publications), research and development (interviews, focus groups and analysis), writing and editorial support (editing, proofing and content production) and art and design-based educational services. Artfield Projects builds on Marsha’s work with Pangaea Sculptors’ Centre and its director Lucy Tomlins. PSC is a London-based resource for those creating and collecting sculpture and other forms of three-dimensional practice.
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 by exploring forms, materials, methods, relations, structures, systems and other dynamics pertaining to authorship and/as cultural production. She works with groups including Critical Practice Research Cluster, Precarious Workers Brigade 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 has been part of projects connected to Tate Modern (Tate Exchange), V&A (All This Belongs to You), 16 Beaver (New York), Wyspa (Gdansk), Berlin Biennial 7 (Berlin), Centre A (Vancouver), ICA (London), The Knot (Berlin), Labor (Budapest), Peckham Platform (London), steirischer herbst (Graz) and Taipei Biennial 2000 (Taipei), Tate Modern (London) 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), ON YOUR MARKS and Sculpting Practice: Catching a Train on the Move – London 2015 (with Lucy Tomlins). Marsha’s practice has been presented in Canada, Denmark, England, Finland, Hungary, Poland, Portugal, Scotland, South Africa, Spain, Sweden and Switzerland.
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 (see below for more info).
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 Art History 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.
skype n twitter: marshabradfield