Newcastle Gateshead Art Fair 2008 & 2009

After the huge success of 2008, the NewcastleGateshead Art Fair will be revisiting The Sage Gateshead in 2009 from Thursday 1st October to Sunday 4th October.The NewcastleGateshead Art Fair 2008 sponsored by HSBC, will open on the evening of 11th September in The Sage Gateshead. The Art Fair is in its second year following the success of the first event which took place last year. The Art Fair showcases artwork from leading modern and contemporary art galleries from within the UK and abroad. 2008 will see an extension of our marketing far beyond 2007 creating a buy in across a much broader range of partners. In addition to this we will be targeting art collectors around the UK and developing the arts market in the region with a series of seminars and promotions on buying and collecting art. Attendees to the fair will comprise corporate collectors, art buyers from the region and beyond, to view and purchase works from the exhibiting galleries. We anticipate between 6,000 and 8,000 to attend the event. It is an opportunity for art dealers and galleries from the UK and abroad whose interests involve painting, sculpture, drawing, photography and limited edition prints to reach their target audience.

More Background On NGArtFair.com

NGArtFair.com was the online home of the NewcastleGateshead Art Fair, a commercial contemporary art event staged in Northeast England during the late 2000s and early 2010s. The fair brought regional, national and international galleries together at The Sage Gateshead, the landmark music and events venue now known as The Glasshouse International Centre for Music.

The website promoted the fair to several overlapping audiences. It provided practical information for visitors, sales and marketing information for galleries, schedules for talks and demonstrations, profiles of organizers and details about tickets, transportation, participating artists and supporting organizations.

More importantly, NGArtFair.com represented an effort to establish a substantial art-buying event outside London. Its organizers wanted the fair to become an internationally recognized marketplace while also encouraging people in Newcastle, Gateshead and the wider North East to begin buying and collecting original art.

The fair was not simply an exhibition where visitors looked at work without purchasing it. It was designed as a commercial marketplace. Paintings, sculpture, photography, prints, ceramics, glass and other works were displayed by galleries and offered for sale at prices ranging from below £100 to several thousand pounds.

Who Organized the Art Fair?

The NewcastleGateshead Art Fair was developed by Andy Balman and Vincent Woods.

Balman came from the commercial gallery sector. He had helped establish and operate The Biscuit Factory in Newcastle upon Tyne, a large independent commercial art, craft and design gallery. His experience as a gallery operator and as an exhibitor at fairs in London and Scotland helped shape the NewcastleGateshead event.

In an interview with Aesthetica, Balman explained the appeal of art fairs by comparing them to an “art circus” arriving in a city. Unlike an individual gallery, which normally represents a limited group of artists, a fair can place numerous galleries and a large variety of work in one building for a concentrated period.

Vincent Woods brought experience in fine art, event production and corporate communications. He had studied fine art and established Benchmark Communications, an events and production company associated with projects for major corporate clients. His background helped the fair operate not only as an art exhibition but also as a professionally marketed visitor event.

The available historical evidence supports describing Balman and Woods as the founders, directors or principal organizers of the NewcastleGateshead Art Fair. It does not, however, provide sufficient evidence to identify the current legal owner of the NGArtFair.com domain. The present site largely functions as a historical record of the event rather than as the active website of a continuing annual fair.

How the Fair Began

The inaugural NewcastleGateshead Art Fair took place in 2007. Contemporary regional reporting described it as a new event with enough local impact to inspire an unofficial fringe exhibition featuring artists from Northeast England.

The event entered a market that was still heavily concentrated in London. Britain already had established fairs serving wealthy collectors, dealers and institutional buyers, as well as more accessible events such as the Affordable Art Fair. NewcastleGateshead attempted to create a regional equivalent that could serve experienced collectors while remaining approachable to people purchasing art for the first time.

The organizers also saw an opportunity created by the cultural redevelopment of the Newcastle and Gateshead waterfront. By the mid-2000s, the area contained a closely connected group of major cultural attractions, including BALTIC Centre for Contemporary Art, Gateshead Millennium Bridge and The Sage Gateshead.

Holding a commercial art fair within this setting allowed the organizers to connect art sales with a larger regional identity based on design, architecture, music, tourism and contemporary culture.

The first fair was regarded as successful enough to return in 2008, when HSBC became a prominent sponsor. The second edition ran from September 11 through September 14 at The Sage Gateshead.

The 2009 edition took place from October 1 through October 4. By that point the fair was being promoted as the largest commercial art fair in Northeast England. Galleries were traveling from across Britain and from countries including Norway and the Czech Republic.

Independent evidence shows that the fair did not end in 2009. A fourth edition was held at The Sage Gateshead from October 1 through October 3, 2010. Contemporary event coverage reported that more than 9,000 visitors had attended in 2009.

Aesthetica subsequently covered the fifth annual NewcastleGateshead Art Fair, held from September 30 through October 2, 2011. That event reportedly featured approximately 50 galleries from the United Kingdom and overseas.

The documented timeline therefore extends from 2007 through at least 2011. Publicly accessible sources do not clearly establish whether another full NewcastleGateshead Art Fair took place after the fifth edition.

The Importance of The Sage Gateshead

The selection of The Sage Gateshead gave the art fair an architectural identity that a conventional exhibition hall could not have provided.

Designed by Foster and Partners, the building opened in December 2004 as a major music performance and education center. Its sweeping glass-and-steel roof, curved form and position beside the River Tyne made it one of the most recognizable buildings in Northeast England.

During the period covered by NGArtFair.com, the building was home to Northern Sinfonia, now known as Royal Northern Sinfonia. It also presented classical, folk, jazz, rock, pop and world music while operating education, rehearsal, conference and public-event spaces.

The art fair used the building’s concourses, balconies and public halls rather than placing exhibitors inside a plain trade-show environment. The open interior, natural light, elevated walkways and views of the Quayside contributed to the visitor experience.

The setting also gave participating galleries a level of prestige. Regional galleries could show their artists in an internationally recognized building, while galleries visiting from London or overseas could present work in a venue that communicated ambition and cultural investment.

The venue has since been renamed The Glasshouse International Centre for Music. References to The Sage Gateshead on the old website therefore reflect the building’s name during the fair’s active years, not its current identity.

Location and Nearby Cultural Attractions

The art fair’s location was one of its greatest strengths.

The Sage Gateshead stood on the south side of the River Tyne at Gateshead Quays. Immediately nearby was BALTIC Centre for Contemporary Art, housed in a converted flour mill. BALTIC presented changing exhibitions, commissions, installations and educational activities rather than maintaining a conventional permanent collection.

The Gateshead Millennium Bridge connected the area with Newcastle’s Quayside. Visitors could cross the river on foot and reach restaurants, hotels, historic buildings and cultural attractions in central Newcastle.

Other notable destinations within the broader city center included the Laing Art Gallery, Newcastle Castle, the Theatre Royal, Grey Street and the Great North Museum: Hancock. Newcastle Central Station was approximately a short taxi or bus journey from the venue.

This concentration of attractions made the fair suitable for more than local day visitors. Collectors, dealers and tourists could combine the event with a weekend in NewcastleGateshead.

The website provided unusually detailed transportation guidance. It explained how visitors could reach the venue by Metro, Quaylink bus, car, bicycle and taxi. Gateshead Interchange was identified as the closest major public transportation point, while Quaylink connected the building with Newcastle Central Station and the Quayside.

What Visitors Could Buy

The fair covered a broad range of modern and contemporary art.

Participating galleries presented paintings, drawings, limited-edition prints, sculpture, photography, ceramics and glass. Later editions also accommodated video, sound and installation work, although the core business remained the sale of physical works that visitors could take home or have delivered.

Affordability was central to the event’s message. Some work was priced below £100, giving first-time buyers an opportunity to own an original or limited-edition piece without entering the highest levels of the art market. At the other end of the range, experienced collectors could find works costing several thousand pounds.

This pricing structure allowed the fair to serve different kinds of buyers. A visitor might purchase a small print or ceramic object, while a corporate collector could consider a large painting or sculpture.

The availability of wrapping, packing and delivery services addressed a practical obstacle to buying at a fair. Visitors did not necessarily need to carry a fragile sculpture, framed print or large canvas through the city.

The fair also promoted the Own Art program, which was created to make contemporary art and craft more accessible through interest-free installment arrangements at participating galleries. Its presence reinforced the fair’s position that buying art should not be restricted to wealthy or highly experienced collectors.

Participating Galleries and Artists

The NewcastleGateshead Art Fair combined commercial galleries from Northeast England with galleries from elsewhere in Britain and overseas.

Regional organizations associated with different editions included Vane, Globe Gallery, Locus+, Northern Print, the Laing Art Gallery and organizations connected with contemporary art development in the North East.

Vane’s records provide a useful example of the quality and range of artists represented at the 2008 fair. Its presentation included Paul Becker, Kerstin Drechsel, Jorn Ebner, Pat Flynn, Nadia Hebson, Simon Le Ruez, Dodda Maggý, Andrew McDonald, Jock Mooney, Stephen Palmer, Morten Schelde, Matthew Smith, Alison Unsworth, Barbara Walker, Miranda Whall and Flora Whiteley.

Artist and gallery records also confirm the participation of exhibitors from outside the region. Artist Ione Parkin exhibited at the 2007 fair through Cube Gallery. Bicha Gallery participated in the 2009 edition, while Opus Fine Art presented work by artists including Hector de Gregorio in 2009 and 2010.

The appearance of the fair in artists’ exhibition histories demonstrates that it had a meaningful place within the British commercial art circuit. It was not merely a local community exhibition. Galleries treated it as one of several art-market events through which they introduced work to new collectors.

The Emerging Artists Showcase

One of the fair’s most culturally significant features was its Emerging Artists Showcase.

Rather than limiting participation to artists already represented by commercial dealers, the program gave unrepresented artists from Northeast England access to the fair. Up to 15 emerging artists could be selected by established galleries, curators and arts organizations.

Organizations involved in nominating or presenting emerging artists included Vane, Globe Gallery, Locus+, Northern Print, the Laing Art Gallery and the Northern Gallery for Contemporary Art.

This system gave the showcase credibility. Artists were not selected through an entirely open, uncurated process. They were recommended by professionals familiar with contemporary practice in the region.

The showcase also created a bridge between nonprofit arts development and the commercial market. An emerging artist could display work near established galleries, meet collectors, observe how dealers presented art and gain experience discussing prices and sales.

The 2009 program included a meet-and-greet session in the Northern Rock Foundation Hall. Visitors could speak with emerging artists and representatives of the organizations that had nominated them.

For collectors, the showcase offered an opportunity to discover work before the artists had developed national reputations or formal gallery representation. For the artists, it offered visibility that could lead to sales, contacts, commissions or later exhibitions.

Talks, Demonstrations and Activities

The organizers understood that unfamiliarity can prevent people from buying art. Someone entering a commercial fair for the first time may not know how to evaluate a price, approach a dealer, ask about an edition or begin a collection.

Educational programming was therefore an important part of the event.

Seminars addressed subjects such as buying and collecting art, photography and architectural views. The Contemporary Art Society was associated with advice for buyers, while BALTIC worked with organizers on collecting-related talks and the “SMART ARTS: A Guide to Art Fairs” program.

Northern Print conducted live printmaking demonstrations and workshops. These sessions helped visitors understand the processes behind etching, screen printing and other editioned works. Demonstrations also made the fair more engaging for people who were interested in art but not ready to make a purchase.

Programs in different years also included music, food-related activities, live street art and activities for children. These additions broadened the event beyond a room of sales stands and encouraged families and casual cultural visitors to attend.

Audience and Goals

The NewcastleGateshead Art Fair was designed for several audiences at once.

Serious collectors could compare work from numerous galleries without traveling to London. Corporate buyers could identify art for offices, hospitality spaces and client areas. Interior designers and property professionals could source original pieces. Tourists could include the fair in a cultural weekend, while residents could browse without feeling obligated to buy.

First-time buyers were especially important. The fair repeatedly emphasized approachable prices, educational seminars and practical purchasing assistance. Its messaging attempted to remove the perception that commercial galleries were intimidating or reserved for experts.

For exhibitors, the goals were more directly commercial. Galleries were encouraged to use the event to generate sales, meet potential clients, introduce artists, develop brand awareness and enter a regional market that the organizers believed was underserved.

The fair also aimed to retain more cultural spending within the North East. A collector from Newcastle or Durham who might normally travel to London, Edinburgh or Manchester could instead encounter a large selection of galleries close to home.

Popularity, Sales and Exhibitor Response

The strongest independently reported attendance figure is the more than 9,000 visitors associated with the 2009 fair. This exceeded the earlier projection of approximately 6,000 to 8,000 attendees and suggests that the event was gaining momentum.

The organizers reported that 89 percent of responding exhibitors believed they had received value from their investment in the 2008 fair. They also claimed that most exhibitors exceeded sales expectations or generated useful follow-up contacts and sales.

These figures should be treated as organizer-reported promotional data rather than independently audited statistics. Nevertheless, the continuation of the fair through at least 2011, the return of established galleries and the documented growth in attendance provide additional evidence that it achieved real regional popularity.

Contemporary coverage described the event as one of the strongest art fairs outside London. The fifth edition reportedly attracted more galleries than previous years and presented hundreds of artists through approximately 50 participating galleries.

There is no evidence that the fair received a major national art prize of its own. Its recognition came instead through attendance, repeat exhibitors, institutional support, regional press coverage and its position as the largest commercial art fair in Northeast England.

Sponsors, Partners and Media Coverage

The fair developed a broad network of public, commercial and cultural supporters.

Organizations associated with various editions included HSBC, Bupa Great North Run, Gateshead Council, Newcastle City Council, Arts Council England, One NorthEast, NewcastleGateshead Initiative, BALTIC Centre for Contemporary Art and The Sage Gateshead.

Regional media partners included the Newcastle Chronicle and The Journal, along with publications connected to NCJ Media. Art of England supplied access to a more specialized national audience of galleries and collectors.

The organizers reported spending approximately £98,000 on advertising for one edition and claimed that the resulting coverage reached an estimated audience of five million people. Promotional plans included direct mail, public relations, online marketing, posters, banners and approximately 120,000 leaflets distributed across Northeast England, Yorkshire, Manchester, Edinburgh and parts of Scotland.

ChronicleLive covered the fair and its surrounding cultural activity, including the unofficial fringe event associated with the inaugural 2007 edition. Aesthetica interviewed Andy Balman and later previewed the 2011 fair.

This combination of mainstream regional media and specialist art coverage helped the event reach people beyond the existing gallery community.

Cultural and Social Significance

The NewcastleGateshead Art Fair emerged during an important period in the cultural transformation of the Tyne waterfront.

BALTIC, the Millennium Bridge and The Sage Gateshead had become symbols of culture-led regeneration. They changed perceptions of an area historically associated with heavy industry by creating spaces for contemporary art, architecture, music and tourism.

The fair contributed a commercial component to that cultural infrastructure. Museums and nonprofit galleries could attract visitors and support artistic experimentation, but artists and commercial galleries also needed buyers. The fair attempted to connect public enthusiasm for culture with a functioning regional market.

Its Emerging Artists Showcase was particularly important in this respect. The program recognized that artistic development requires more than exhibitions. Artists also need introductions to collectors, galleries and commercial opportunities.

Socially, the fair made art buying appear more attainable. Low-cost tickets, works available below £100, family activities and beginner-oriented seminars challenged the assumption that collecting was an exclusive activity.

The event also encouraged dialogue between different parts of the art world: nonprofit organizations, commercial galleries, emerging artists, established artists, corporate sponsors, local government, tourists and private collectors.

What Happened to NGArtFair.com?

The surviving website concentrates heavily on the 2008 and 2009 fairs, but independent records show that the event continued in 2010 and 2011.

The absence of well-documented later editions suggests that the NewcastleGateshead Art Fair eventually ceased operating under its original format or name. However, no reliable public source located for this article provides a definitive closing announcement, explains the organizers’ decision or identifies a precise final date beyond the documented fifth edition.

NGArtFair.com now functions primarily as a historical site. Its content preserves schedules, promotional material, organizer biographies, visitor information and descriptions of the art fair’s ambitions.

Some information on the site is naturally outdated. The Sage Gateshead has been renamed The Glasshouse International Centre for Music. Transportation prices, parking charges, telephone numbers and ticketing procedures from 2008 or 2009 should not be used for present-day travel planning.

The website is therefore most useful as a record of a regional cultural initiative rather than as a current event guide.

The Fair’s Legacy

The NewcastleGateshead Art Fair demonstrated that a large commercial contemporary art event could attract thousands of visitors in Northeast England.

Its legacy rests in several achievements. It brought as many as approximately 50 galleries together in an architecturally significant regional venue. It reportedly attracted more than 9,000 visitors in 2009. It introduced first-time buyers to original art, gave regional collectors an alternative to London fairs and created a showcase for unrepresented artists.

The event also reflected a larger moment in NewcastleGateshead’s cultural history. Public investment in BALTIC, the Millennium Bridge and The Sage Gateshead had created a recognizable cultural destination. The art fair used that environment to test whether cultural interest could support a larger commercial marketplace.

NGArtFair.com preserves evidence of that ambition. Although the site no longer appears to represent an active annual fair, it documents an event that helped connect artists, galleries and collectors while strengthening the North East’s reputation as a center for contemporary culture.