“Rosalind is the most informed artist and curator around. She curates the smartest, and most intelligent shows of new emergent and established art in London.” Graham Crowley

Rosalind Davis is the permanent Curator at Collyer Bristow Gallery a dedicated bespoke gallery space based in a law firm in Holborn, London with a dynamic exhibition programme. Within the legal world, Collyer Bristow has been championing emerging talent in contemporary art for 26 years. Rosalind Davis began her role at Collyer Bristow Gallery in 2016 and curates three group exhibitions per year showing a diverse range of talented artists from new career to established artists and works site specifically on the themes for her exhibitions.

Her exhibitions at the Collyer Bristow Gallery have been reviewed and featured in The Times, Wall Street International, City Magazine, The Londonist, Paul Carey-Kents Artworld, Art Top 10 and Dateagleart. Since her appointment she has co-hosted a number of events for the gallery: the Fine Art Group, The Mall Galleries and Young Professionals in the Arts as well as tours for Barry Schwabsky, the Smithsonian, the Contemporary Art Society, the Government Art Collection and Sotheby’s .

Previous curatorial projects have been at Standpoint Gallery, Arthouse1, Geddes Gallery and with Zeitgeist Arts Projects an arts organisation Davis co-directed 2012-15 at Bond House Gallery (ASC) as well as at Core Gallery 2010-12. Both based in South East London and which included artists education programmes, art tours as well as curatorial projects.  Davis has curated 30 exhibitions so far in her career.

You can read an insight into Rosalind’s Curating for an article she wrote for Delphian Gallery here.

If you would like to know more about any of the exhibitions there are online catalogues including press releases, curator interviews, press and much more on the pages in this section.

On now: Re-Assemble at Collyer Bristow Gallery:

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Review on Wall Street International by Jillian Knipe

Re-Assemble1 with its word splicing hyphen emphasises an expectation that the artworks will encompass configurations done, undone and re-done. Though, like many of the works in this group exhibition, there is an essential contradiction which runs through the title. 

Assemble refers either to a group of people coming together which is temporary, else to the arrangement of componentry. If the latter is for a machine, there’s reasonable hope for the assembly to be more permanent, a direct opposite of the momentary mustering of citizens. The need or preference to “re” assemble then initiates the question of why. Was the original assembly broken? Obsolete? Do we have all the parts? Is this a necessity or a game?

As part of law firm Collyer Bristow’s ongoing commitment to the arts, in-house curator Rosalind Davis has assembled multiple contributions from 18 artists whose work intentionally or accidentally reconfigures its constituent parts. This isn’t just academic, it’s personal. As Rosalind’s own collaborations with fellow artist Justin Hibbs reveal, she is particularly and heavily invested in how space can be both clearly and deceivingly bordered, walled, outlined and mirrored. Their resulting work which can be seen at Arthouse1 as part of Observation Rooms, highlights possibilities, pathways and dead ends as short-lived arrangements which, despite their calculated appearance, are actually subjective compositions, susceptible to constant re-assembly….read the full article here.

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