Beverley Knowles earned her art world stripes working with revered eighteenth century dealer Anthony Mould in Bond Street, London. At the other end of the geographical and art historical spectra, she then did a one year theory dense MA in Contemporary Art History at Goldsmiths’ College.
In 2002 she set up Beverley Knowles Fine Art in support of contemporary women artists. This not uncontroversial project, hailed by Griselda Pollock as “vitally important” and decried by Sue Hubbard in The Independent as a “self-made ghetto amid the desired homogeneity of the twenty first century”, operated from October 2005 to May 2009 out of a gallery space just off Golborne Road, W10.
After a brief commercial partnership with art historian Yvette Greslé, a shift in focus bloomed and Beverley is now working as a freelance consultant, independent curator and writer on the arts. Contentedly tucked away in a private office but rarely far from the madding crowd, her particular area of interest is concept driven ephemeral and performance art by emerging artists.
As a commentator on the arts Beverley has written for The Guardian, Art of England, Art in London, The Financial Mail and Spoonfed. As well as an art historian Beverley is also an equestrian, a yogi, a Buddhist, a voracious reader, a stubborn interlocutor and a firm believer that a sense of humour has got to be the last thing to go.
In 2002 she set up Beverley Knowles Fine Art in support of contemporary women artists. This not uncontroversial project, hailed by Griselda Pollock as “vitally important” and decried by Sue Hubbard in The Independent as a “self-made ghetto amid the desired homogeneity of the twenty first century”, operated from October 2005 to May 2009 out of a gallery space just off Golborne Road, W10.
After a brief commercial partnership with art historian Yvette Greslé, a shift in focus bloomed and Beverley is now working as a freelance consultant, independent curator and writer on the arts. Contentedly tucked away in a private office but rarely far from the madding crowd, her particular area of interest is concept driven ephemeral and performance art by emerging artists.
As a commentator on the arts Beverley has written for The Guardian, Art of England, Art in London, The Financial Mail and Spoonfed. As well as an art historian Beverley is also an equestrian, a yogi, a Buddhist, a voracious reader, a stubborn interlocutor and a firm believer that a sense of humour has got to be the last thing to go.
