ABSTRACT
Artangel has refined its artistic strategies and its working methodology over time by both accompanying and responding to British cultural policies as devised by successive governments, and by taking part in the national and global debates on contemporary art. Over more than 30 years, their commissions have both achieved global coherence, thus becoming distinctly identifiable as Artangel projects, and maintained a capacity to surprise and intrigue. Like most foundations and trusts established at the end of the twentieth century, Artangel was initiated by one person with a vision. In the case of Artangel, it was Roger Took. By becoming more and more professional under the direction of James Lingwood and Michael Morris, Artangel has become an alternative institution without walls, an influencer on the British art scene, as well as, more recently, internationally. It has both illustrated and informed the way roles are distributed in the art world.
