New Work Yorkshire is a network, a collective of practitioners and it is artist-led. The network began in 2003, at an inaugural meeting in April in Leeds.

Its main goal has been a vibrant and diverse New Work* sector in the Yorkshire region. It has always aimed to have members who are proactive, engaged and mutually supportive. Activities and events undertaken over the 10 years have seen members participate, share, organise and communicate with each other in order to develop their practice. New Work Yorkshire has had around 200 members, who were kept connected through an E-Forum.

This archive seeks to document the network’s activities from 2003 to 2013. Over 10 years we’ve:

  • Held 15 networking and discussion events
  • Created 10 different performance and cross-disciplinary platforms and commissioning opportunities
  • Undertaken 8 professional development events, offering artists opportunities to discuss developing practice
  • We’ve undertaken all of these events in partnership with arts organisations all around the Yorkshire region, in Hull, Bradford, Huddersfield, Sheffield and Leeds

Some activities were funded through ACE Yorkshire’s managed funds to develop live art (2007-8), some were led by partners such as Live Art Development Agency and Compass Live Art (see archive pages for detail). However the majority of the work was undertaken was done voluntarily by members of the NWY Steering and then Management Group.

Steering and Management Group members have included: Matt Allen, Caroline Astell-Burt, Shaeron Caton-Rose, Robin Close, Gillian Dyson, Brian Gilson, Sohail Khan, Steve Loader, Jean McEwan, Jez Riley, Sarah Spanton, Chris Squire, Lisa Watts and Adam Young.

For most of its years, New Work Yorkshire had an archive of its activities on the national organisation New Work Network’s website, until NWN’s recent closure in 2012.


New Work: live art, contemporary performance, video/time-based arts, sound-art/experimental music, cross-disciplinary practices.

Live Art: ‘Whether challenging orthodoxies of fine art practice, exploring the limits of theatricality, appropriating the idioms of mass culture, pushing at the boundaries of choreographic conventions or exploring the performativity of cyberspaces, Live Art practices occupy all kinds of mediums in a volatile state’. From Fluid Landscapes in Live Culture at Tate Modern Catalogue, Live Art Development Agency 2003


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