Patrick Kirk-Smith

RISE up!: Diverse programme of events launched as part of RISE season TO mark International Women’s Day, Liverpool is announcing a season of events which celebrate inspirational...

Last week, we lost our car. Seven years, and jointly, mine and my partner’s first car, and the vehicle that enabled this paper to...

Bluecoat Display Centre at 60 60 @thebdc, open until 2nd March 2019 In sixty years, the Bluecoat Display Centre has probably done more for local makers...

The Art Schools of North West England, at Bluecoat I don’t remember the days when there was an art school in every town, I can...

Artist Rooms was part of Nicholas Serota’s outgoing legacy at Tate. When the long serving Director of the national gallery group stepped down in...

Preview: Gray Ⓖ at Kirkby Gallery, and the 18th Knowsley Open Words, Patrick Kirk-Smith Historically, open exhibitions were revered, highly judged, highly commended, monetised affairs that...

Six Memos (on art and writing); Italo Calvino’s future becomes reality on display at St George’s Hall Words, Patrick Kirk-Smith Writing credits for ‘The Quick Guide’...

Review: Jade Montserrat, Instituting Care “The quiet in this library is a sound in itself.” A statement scrawled across the walls of the gallery seems...

Blue Room at Ten, Review Blue Room has, for ten years, been working with learning disabled artists not just in creating new art, but creating...

Review: Stirling Prize Shortlist exhibition 2018, at RIBA North 2018’s Stirling Prize Winner is Bloomberg’s European Headquarters. The annual award is an unlimited, uncategorized prize...

Review: Jasmir Creed, Dystopolis at the VGM Victoria Gallery & Museum has hosted some wonderful multimedia installations over the years, one was, I think, the...

Four Words: Future Alan Dunn’s Channel 4 takeover. Catch up on All4 You know how those adverts on facebook target you? Or down the side of...

Increasingly, we’re trying to find a reason for art. It might be education, wellbeing, discovery, freedom of thought, cultural understanding, community growth, etc. etc. Key...

Earlier this year, the Hornby Room at Liverpool Central Library hosted Frankenstein 2018, a celebration of 200 years since the first publication of Mary...

At Tate Liverpool until 29 March 2019 Words, Patrick Kirk-Smith Léger’s early work is really fairly disappointing to see. Le Jardin de ma mère, painted as...

Review: TORCH, by ANU Productions Nervously fidgeting with a box of ink in my pocket for an hour spent in a terraced house in St...

It’s been a pretty big year for Art in Liverpool, given that this time last year this newspaper didn’t exist, and we’d just started...

Spectacular light show to round off St Helens 150th anniversary celebrations and Borough of Culture A dazzling light projection made up of 200,000 lumens of...

Independents Biennial, a diary Words, Patrick Kirk-Smith I’ll start where I mean to end; something happened this year that clarified a new responsibility for Art in...

Review: Liverpool Biennial 2018 Words, Patrick Kirk-Smith Beautiful World, What Are You?, rather than Beautiful World, Where Are You? seems to be more appropriate title. What...

Test! The programme of trial and error taking chances for Independents Biennial There’s an important layer to the visual arts that rarely gets seen. It’s...

Believing they had been deserted, the families of Chinese seamen who had been secretly deported back to the Far East tell their somewhat unknown...

Without agenda or pretence, I want to commemorate a building which has been an invaluable support to Art in Liverpool, the Independents Biennial and...

Our final Independents Biennial issue is here. In November, we’re back to normal, returning to routine. But that, in no way, means things are...

It’s the Travelling Life - new exhibition depicts life in Liverpool’s Irish Traveller community A new exhibition, curated by American artist Jona Frank, provides a...

Liverpool Biennial’s strongest card? Open Eye Gallery’s Madiha Aijaz One of Liverpool Biennial’s loudest, and aptly, quietest, statements about globalism and the impact of individualism...

How Liverpool’s Metropolotian Cathedral grew new limbs. Ryan Gander’s Liverpool Biennial commission Time Moves Quickly, the message from Ryan Gander to Liverpool. On the platform outside...

Haegue Yang’s surreal escape at Tate Liverpool Words, Patrick Kirk-Smith On my way in to Tate Exchange to visit our writers-in-residence this month I stumbled across...

Water deserves more credit. Aurora shows us why. Words, Patrick Kirk-Smith “We aim to open up a dialogue about the value of water on a global...

You know at the Docks, where people leave their padlocks hanging from chains overlooking the Mersey? Behind Tate, on those lovely benches? Well there...

Over the last few weeks, I’ve come to love this building. I don’t know if I did before, certainly not beyond its beauty. My own...

Pier Head Village Festival Showcases Local Art Liverpool Art Fair will be offering affordable art from its residence on the city’s iconic waterfront (26th July –...

Ari Benjamin Meyers rethinking musical portraiture for Liverpool Biennial Lord of the Flies was the last thing I saw at the Playhouse. It was ok,...

John Moores Painting Prize artist, Pete Clarke on finding the right place to work, and the right artists to work with Getting Longlisted for the John...

Tunstall Street, L7, has watched over five years of development as the hoardings around the houses get higher and higher. A new school directly...

Building new futures: On Liverpool Biennial artist Mae-ling Lokko, and her pursuit of an answer to a global question Mae-ling Lokko, one of the headline...

“Photie-Man” How Tom Wood made a name for himself There’s something about the Wirral peninsula that must burrow deep inside the minds of artists who live...