Untitled A Strategic Plan for Visual Arts in North East 1 Contents

3 Strategy 4 Our History 6 Our Value 9 Our Future 11 Our Vision 13 Our Ambition 17 Our Priorities 18 Provision 20 Progression 22 Profile 24 Participation 26 Political 28 Next Steps 2 ‘If we are going to rise to the challenges ahead, 3 we will only do it if collaboratively—large or small, A Strategic Plan artist led or institution, voluntary or funded—we work together. If we can imagine that future collectively, we can work out the steps to get there’ for Visual Arts in Sarah Munro Director, BALTIC Centre for Contemporary Art

Untitled is a strategic plan created through consultation involving the North East Contemporary Visual Arts Network (NECVAN), a regional sector-led network of visual arts organisations and individuals. The Network includes individual artists, writers, curators and over sixty organisations delivering high quality contemporary visual art across the North East. We are committed to driving the agenda for the visual arts in the region and unifying the sector through our individual and collective ambition.

The Network: a-n The Artists Information Company - Allenheads Contemporary Arts - amino - Ampersand Inventions - Arts&Heritage - AV Festival - BALTIC Centre for Contemporary Art - BALTIC 39 Berwick Film & Media Arts Festival - Berwick Visual Arts - Bowes Museum - Breeze Creatives B&D Studios - Cheeseburn Sculpture - Circa Projects - Cobalt Studios - The Customs House Destination Apollo - drawing? - Drop City - Durham County Council Culture and Sport Durham University - East Durham Creates - Gallery North - Globe Gallery - Hartlepool Art Gallery Hole Editions - The Holy Biscuit - The House of Blah Blah - International Print Biennale - ISIS Arts Left Leg Gallery - Locus+ - M I L K - Middlesbrough Institute of Modern Art - Mushroom Works National Glass Centre - Navigator North - The NewBridge Project - Newcastle University New Linthorpe - North East Photography Network - Northern Gallery for Contemporary Art Northern Print - Arts Development - Northumbria University - Orbis - Platform Arts Side Gallery - Star and Shadow - Teesside University - Tyne & Wear Archives & Museums Arts Programme at Tyneside Cinema - University of Sunderland - Vane - Visual Art in Rural Communities - Workplace Gallery - Wunderbar - 36 Lime Street

Left Alex Charrington, Push Me Pull You, 2016. Platform A Gallery, Middlesbrough. 4 5 ‘In 1996 the visual arts helped to change the way Our History people think about the North East of England and now our galleries and studios have become important creative generators which bring life to places and enable artists to live and work in the region. The visual arts can still inspire change —in the future we need these creative spaces in all our communities across the North East.’ Matthew Jarratt North East Cultural Partnership

2016 marks 20 years since the UK Year of the In 2016 we have ten Arts Council England Visual Arts was awarded to North East England. national portfolio organisations, two major It was largely innovative non-gallery based partner museums Tyne and Wear Archives artists’ projects, placements and residencies and Museums and Bowes Museum, and our together with ambitious international events five universities play a key role in supporting such as the National Garden Festival, EDGE, the sector. the Tyne International and a strong history of commissioning in the public realm that led The visual arts sit within a growing creative to the award in 1996. industry in the region which currently represents over 5% of all jobs.1 Since then there has been considerable capital investment creating National Glass Centre in Sunderland (1998), BALTIC Centre for Contemporary Art in Gateshead (2002) and Middlesbrough Institute of Modern Art (2007).

We have also seen a consistent increase in ‘Part of the legacy of 1996 is that vibrant small independent arts organisations, it demonstrated the visual arts new forms of artists’ support, studio facilities and new nationally and internationally in the North East knew how to significant festivals, events and initiatives ‘raise its game’ and we believe across the North East. The geography of the it continues to do so.’ region also continues to provide a diverse range of contexts for the creation and exhibition of Paul Stone contemporary work. Director, Vane

Left Hatton Showcase: Designs for a Touring Pavilion, 2016. Photo: Colin Davison. 6 7 The visual arts in the North East contribute Our Value towards the strong national impact the visual arts have for the UK as a whole.

Our creative industries are renowned and Public investment in the visual arts helps respected worldwide. The Department for underpin the UK’s £21 billion international Culture, Media and Sport Culture White Paper tourism industry – more than a quarter of all 37,000 £8.5bn 7 (2016) states that the UK is number one in foreign visitors now visit a gallery or museum. people employed by UK is 2nd biggest art both Portland’s The Soft Power 30 index 2 (2015) and the Institute for Government – The British Council report As Others See Us visual arts sector nationally market in the world Monocle soft power survey 3 (2012). ranks factors that make the UK attractive to overseas audiences. Culture and historic Nationally the visual arts sector is a strong attractions come top of these rankings at 42% and dynamic force, employing 37,000 people with cities (39%) Countryside and landscape and generating £1.9 billion gross added (36%) and Arts (36%).8 value to the economy.4 During the nine-month period to April 2015, The visual arts sector gives artists galleries outside of London attracted a £1.9bn 25%+ opportunities to create great art and sustain combined new visitor spend of £25 million gross added value of all foreign visitors now the UK’s reputation as a creative superpower to their local economics, with more than by encouraging innovation and directly half of visitors from outside the local area.9 to UK economy visit a UK gallery or museum supporting the commercial creative industries which now represent 10% of the UK’s GDP.5 The visual arts provide rich experiences that help to shape peoples’ outlooks and ambitions The sector supports the UK’s £8.5 billion art in life. There is evidence that our cultural offer market (now the second biggest in the world) can have positive impact on an individual’s and our subsided/commercial visual arts wellbeing whether that is through visiting ecology by providing training, commission venues, engaging with or undertaking and exhibition opportunities for the talent participatory activity.10 10% £25m of tomorrow.6 of the UK’s GDP added to local economies are creative industries outside of London 9 Our Future

We believe now more than ever before that the visual arts have a vital role to play in the future international profile, economic growth, social capital and political issues of the North East. We recognise in our globally changing world there are many challenges; Government funding cuts, split devolution in the region, impending departure from the European Union and communities in need of uniting, all create a sense of uncertainty for the future. We also know this impacts on the visual arts sector who are working in precarious conditions with lack of organisational and job security which we need to address to ensure it can thrive. However, by diversifying our funding, creating new business models, developing new national and international partnerships and working locally to share resources we still remain positive and continue to innovate, and strongly believe we can continue to do so, creating substantial impact in our region.

Left Darren Banks, Object Cinema, 2016. Commissioned by Tyneside Cinema. Photo: Colin Davison. 11 Our Vision

The contemporary visual arts in the North East will be secure, thriving and ambitious, with substantial international profile. Quality will be at the heart of all that we do as artists, organisations and individuals. By meeting the diverse needs of our audiences and communities we will engage them in thought provoking new ideas and perspectives. Our role will be seen as fundamental within society, creating real impact and value for the region.

‘True parity between the diversity of organisations in the North East visual arts sector, a level playing field for organisations of all shapes and sizes to work within, and true collaborative working will ensure the visual arts has the most impact for the region.’

Julie Milne Chief Curator of Art Galleries, Tyne & Wear Archives and Museums

Left Laura Lancaster, Montage X, 2015. Courtesy of the artist and Workplace. Photo: David Lawson. 13 Our Ambition

Over the next ten years we will build on our achievements to date and realise our ambition:

- To build a sustainable future in which our international reputation as a vibrant centre of excellence for the visual arts is recognised.

- For the North East to be regarded as a region for production, where ambitious work is supported, made, exhibited, distributed and collected.

- As a region where artists, writers, curators and organisations can truly thrive, with their success acknowledged and celebrated.

- For our audiences to be culturally, ethnically and socially diverse, better reflecting the communities we are based within.

- Where the real social, economic and political impact the visual arts have in the region to be clearly recognised and valued.

Top Left Linda Gordon, Way of the Swallows, 2006. Courtesy of Visual Art in Rural Communities. Photo: Barry Imeson.

Bottom Left Narbi Price, Untitled Kerbstone Painting (MJK), 2012. Prize winner of the John Moores Painting Prize 2012. This page Test Dept, DS30, 2014. Courtesy AV Festival. Photo Colin Davison. 17 Our Priorities

To deliver our ambition there are a key set of priorities that we have identified as critical to our success: Provision To improve sustainability, organisational growth and resilience. Progression To increase the potential for individuals to secure employment and develop successful careers nationally and internationally. Profile To raise the international profile of the visual arts in the North East. Participation To increase current levels of engagement with audiences and communities and reflect the diversity of the region. Political To play a strong leadership role in the strategic vision of the region.

Left EC Davies, A stitch in time, 2013, Vane, installation view. Photo: Colin Davison. 18 19 ‘The history of making is strong in the psyche Provision of the North East region, to push an agenda for production offers a new direction that is in line with the region’s history and culture.’ Alistair Hudson Director, Middlesbrough Institute of Modern Art

To improve sustainability, organisational Support leadership and skills development growth and resilience in order to ensure a highly skilled sector in the region, securing long-term artistic excellence We will − and resilience.

Create a collaborative culture between Develop new partnerships and markets arts organisations of all scales fostering with other sectors including the business new opportunities for artistic production, community and the five regional universities increased resource sharing and mentoring, (Newcastle, Northumbria, Sunderland, therefore utilising our collective investment Durham and Teesside). and maximising our creative output. Indicative activity − Support the innovative use of existing vacant spaces, the development of high-quality artist Lobbying by the network members for workspaces and the creation of new production secure studio provision and live/work facilities facilities for artists and creative businesses to attract and retain talent and creativity in An exemplar critical friend initiative the region. coordinated by the network, between both individuals and organisations Embed equality and fairness across all of our work including embracing Arts Council England’s A business forum created by the network to Creative Case for Diversity (2014) supporting assist the sector where needed, to engage with artists to overcome barriers to create work and business and international trade opportunities enabling diversity of artistic practice. Investment secured within the sector to create Ensure equitable pay for artists and good major sculpture production facilities by 2025 working conditions for employees are exemplar in the visual arts, creating a more stable sector to work within.

Left Glass blowing demonstration at National Glass Centre, Sunderland. 20 21 ‘By assisting our youngest and brightest artists Progression to travel and develop work outside the region, showcasing a skills base that was established in the North East, they become advocates for the region and what we have to offer.’ Zoe Anderson Co-Director, Breeze Creatives

To increase the potential for individuals to Indicative activity − secure employment and develop successful careers nationally and internationally A professional practice toolkit produced for graduating artists We will − Temporary employment opportunities Work in partnership with schools, further within festivals and events and higher education to ensure that students are aware of and better prepared for career A new cultural leadership programme opportunities in the visual arts, generating informed and developed by NECVAN the sector’s next generation of artists and cultural leaders. Residencies and fellowships for artists, curators and writers developed by NECVAN Research and develop alternative models for art education in the region, so individuals have We will support North East Cultural access to multiple ways in which to shape their Partnership’s Case for Culture target that learning and artistic practice, creating pathways every young person in the region, will have to enter the sector from diverse backgrounds. access to a cultural experience as part of their education at primary and secondary Support emergent talent through the creation school and contribute to their target of of high-quality, paid professional development doubling the 70,000 jobs in the cultural including traineeships, apprenticeships and sector by 2030.11 We will support the temporary employment opportunities to retain Department of Culture, Media and Sport’s talent in the region. commitment to increasing the number of apprenticeships to three million by 2020.12 Create new professional development opportunities for artists at different stages of their careers to ensure their practice is supported, talent is identified and profiled, and the region is recognised for developing and enabling artists’ success.

Support the professional development of cultural leaders in the region, enabling them to make new connections, broaden their practice and impact on the visual arts sector.

Left and front/back cover George Vasey, Curator installing Cornelia Baltes, Turner, 2015 at Northern Gallery for Contemporary Art, Sunderland. Photo: Colin Davison. 22 23 ‘International reach, quality, and reputation are vital Profile ingredients in building a connected and relevant art scene. As artists and organisations continue to build their international profiles it is really important they share experiences and networks with younger generations so that everyone sees what they do as part of the wider art world.’

Paul Moss Co-Director, Workplace Gallery

To raise the international profile of the visual Indicative activity – arts in the North East Opportunities for new activity identified We will − on a sustained timeline up to 2025, these include the re-opening of The Hatton Gallery Increase the profile of international work (2017); anniversaries of key venues e.g. being undertaken in the region and identify the Middlesbrough Institute of Modern Art (2017) international networks and leadership potential Shipley Art Gallery (2017) National Glass Centre in the sector to create further opportunities (2018) Destination Apollo (2020) BALTIC Centre for individuals, artists and organisations. for Contemporary Art (2022); and major events including Freedom City (2017), Great Exhibition Support the development of ambitious of the North (2018) and UK City of Culture bids collaborative projects initiated in the region by Sunderland (2021) and Teesside (2025). with international partners including the British Council to raise our profile and build An Art Map developed by the NECVAN cultural connections. A new International Visual Arts Festival Maximise the opportunities for international on Tyneside by 2019 profiling through existing and new visual arts festivals and major events that attract New contemporary collections developed international audiences to the region. by Northern Gallery for Contemporary Art, Sunderland and Hartlepool Art Gallery Support enhanced press and online marketing campaigns to give greater profile We will work strategically with the British to organisations, artists and events in the Council to meet their 2021 goal of increasing region at a national and international level. the number of cultural connections between the UK and the world.13 Develop a new relationship with tourism and destination marketing agencies to increase incoming visitors to the region.

Left Eric Bainbridge solo presentation for Workplace at Frieze London, 2014. Image courtesy of Workplace. 24 25 ‘Investment by the visual arts sector in strategic Participation engagement with diverse audiences reaps huge dividends long term. Engaging with and experiencing art improves educational attainment, grows the next generation of artists, cultivates audiences and embeds the importance and value of visual arts within the minds of our communities.’ James Lowther Head of Visual Art, Berwick Visual Arts

To increase current levels of engagement Develop collaborative cross-marketing with audiences and communities and reflect initiatives to encourage multiple attendance the diversity of the region and new venue visitors so more people can benefit from our investment. We will − Collect and share audience data across the Develop innovative public and offsite visual arts sector, including where appropriate programmes that encourage engagement the commissioning of independent audience and a strong sense of cultural identity with evaluation to understand our audiences fully people living in the region, bringing together and inform our work. communities and building social capital. Indicative activity − Work in partnership with museums, heritage sites and place-making agendas across the Major community engagement initiatives region to commission contemporary visual art, across the North East delivered from within broadening our reach and engaging new and the sector hard to reach audiences with inspirational contemporary art. Destination Apollo, a programme embracing generations celebrating creativity and culture Work in partnership with other sectors, including in the East Durham community universities, on the research, development and delivery of new participatory programmes within We will proactively contribute to North East health care, community and voluntary sectors Cultural Partnership’s Case for Culture to maximize intrinsic benefits.14 ambition to lead nationally as a region in participation in culture reaching an extra 500,000 people and another 285,000 children per year.15

Left The Playground Project at BALTIC Centre for Contemporary Art, Gateshead. Photo: Mark Pinder/Meta-4. 26 27 ‘People we proactively engage with now, Political will in time become our future artists, cultural producers, curators, advocates, educators, policy makers and supporters at all levels in our communities.’ Charlotte Gregory Director, The NewBridge Project

To play a strong leadership role in the strategic Indicative activity − vision of the region Major university-led research to measure We will − our impact regionally

Lobby for art subjects to be embedded Sector representation on the All Party within the education curriculum. Parliamentary Group for Art, Craft and Design in Education Play a strong role in shaping art school curriculum, through our relationships with We will play a key role in working further and higher education establishments collaboratively to deliver the full benefits in our region. of culture for our regional community, a key desire outlined in the Department Work strategically to influence planning for Culture, Media and Sport Culture decisions to ensure art is integral within White Paper (2016).16 public realm development.

Build a strong reputation for the social application of art as a key component of building community cohesion.

Ensure the perception of post-Brexit Britain is international, tolerant and diverse.

Consistently evaluate and evidence the positive impact of the visual arts on our region, shifting the sector’s perception and position within society.

Left Community Day at mima. Courtesy of Middlesbrough Institute of Modern Art. 28 29 Endnotes 1 Taking Part 2014/15: NORTH EAST, Arts 11 The North East of England’s Case for Culture, Council England. Available at: http://www. North East Cultural Partnership, 2015. Next Steps artscouncil.org.uk/sites/default/files/download- Available at: http://www.northeastcouncils. file/taking_part_2014_15_North_East.pdf gov.uk/file.aspx?id=26

2 http://softpower30.portland-communications. 12 Department for Culture, Media and Sport com/ranking Culture White Paper, 2016. Available at: https://www.gov.uk/government/uploads/ We will generate an action plan outlining Through identifying collective priorities and 3 McClory, J, The New Persuaders III: A 2012 system/uploads/attachment_data/file/510798/ how the sector as individuals, organisations opportunities for support we will strengthen Global Ranking of Soft Power, 2012. Available DCMS_The_Culture_White_Paper__3_.pdf at http://www.instituteforgovernment.org.uk/ and together as a network will collectively the sector and build capacity through sharing publications/new-persuaders-iii 13 British Council Global Arts Strategy, 2016 – achieve these aims. We know our success resources, skills and ideas. 2021. See: https://www.britishcouncil.org/ lies in strong partnership working and we want 4 Achieving Great Art for Everyone, Consultation organisation/press/British-Council-unveils- We recognise in order to fulfil the potential to report: Visual Arts: Achievements, Challenges, global-arts-strategy to continue to work with and develop new and Opportunities, Arts Council England, 2010. relationships and engage with: grow and strengthen the visual arts sector in the Available at: http://webarchive.nationalarchives. 14 Crossick, G & Patrycja Kaszynska, North East we will individually and collectively gov.uk/20160204101926/http://www. Understanding the value of arts and culture: – Darlington Borough Council, Durham need to identify and secure funding where artscouncil.org.uk/media/uploads/achieving_ The AHRC Cultural Value Project, Arts and County Council, Gateshead Council, great_art_for_everyone_consultation_report.pdf Humanities Research Council, 2016. Available needed to deliver new activity. at: http://www.ahrc.ac.uk/documents/ Hartlepool Borough Council, Middlesbrough 5 The contribution of arts and culture to the publications/cultural-value-project-final-report/ Council, Newcastle City Council, North As a sector, we need to coordinate, share national economy, Centre for Economic and Tyneside Council, Northumberland and monitor our work not only to measure our Business Research, 2013. Available at: https:// 15 The North East of England’s Case for Culture, www.cebr.com/reports/arts-and-cultures- North East Cultural Partnership, 2015. County Council, Redcar and Cleveland collective progress but to ensure it remains economic-contribution/ Available at: http://www.northeastcouncils. Borough Council, South Tyneside Council, ambitious in nature, valuable to the region, and gov.uk/file.aspx?id=266 6 Arts Council England Achieving Great Art for Stockton-on-Tees Borough Council, makes a cohesive case for culture as a driver Everyone, Consultation report: Visual Arts: 16 Department for Culture, Media and Sport Sunderland City Council which can influence and shape cultural and Achievements, Challenges, and Opportunities Culture White Paper, 2016. Available at: strategic policy. Appendix, 2010 https://www.gov.uk/government/uploads/ – Arts Council England system/uploads/attachment_data/file/510798/ 7 http://www.visitbritain.org/culture-heritage- DCMS_The_Culture_White_Paper__3_.pdf Our work is informed by and will meet the – Bridge North East attractions ambitions set out in: 8 Culligan, K, Dubber, J & Mona Lotten, As Other – British Council – Arts Council England’s ten-year strategic See Us: Culture, attraction and soft power, British Council, 2014. Available at: https:// – Canals and Rivers Trust framework Great art and culture for www.britishcouncil.org/sites/default/files/as- everyone (2010-2020) others-see-us-report.pdf – Churches Conservation Trust – British Council’s Global Arts Strategy 9 National Visual Arts Cluster Benchmark Report, – Creative People and Places Programmes: Audience Finder Programme, Audience (2016-2021) Agency, 2014/15. Available at https://www. Bait in Northumberland, The Cultural Spring theaudienceagency.org/asset/884/download in South Tyneside and Sunderland and East – Creative & Cultural Skills Building a Creative 10 Fujiwara, D, Kudrna, L & Paul Dolan, Durham Creates. Nation (2013) Quantifying and Valuing the Wellbeing Impacts of Culture and Sport, 2014. Available at: – Department of Culture, Media and Sport – Department for Culture, Media and Sport https://www.gov.uk/government/uploads/ Culture White Paper (2016) system/uploads/attachment_data/file/304899/ – Department for International Trade Quantifying_and_valuing_the_wellbeing_ – North East Culture Partnership’s 15 Year impacts_of_sport_and_culture.pdf – English Heritage Case for Culture vision (2015) – Historic England and existing cultural strategies of the twelve – National Trust regional local authorities.

– Newcastle Gateshead Initiative

– North East Chamber of Commerce Further information cvan.org.uk/north-east – North East Cultural Partnership

– Northern Film and Media

– Northern Tourism Alliance

– The Community Foundation Tyne and Wear and Northumberland