Bristol Visual Arts Review

Arts Council England 27 March 2018 BRISTOL VISUAL ARTS REVIEW • 27 March 2018 2

Contents

Introduction 3

The Bristol Visual Arts Review Brief 4–5

Bristol Visual Arts Review Report & Recommendations 6-12

Arts Council England’s Response to Report & Recommendations 13-15

Appendices 16 BRISTOL VISUAL ARTS REVIEW • 27 March 2018 3

Introduction

Bristol is home to a vibrant visual arts sector, on the City Campus, including a shared delivering cultural experiences that bring commitment to developing Bristol’s creative substantial audiences to the South West and economy, supporting the arts and creative achieve national and international acclaim. industries, championing talent development, and working together to establish Bristol as The city is known for high profile artists – a national centre for Arts Technology. Richard Long, Daphne Wright and Martin Parr; sector leadership in creative media – However, despite recent positive Aardman Animations and Watershed; and developments there are concerns that excellence in live art – In Between Time Bristol’s visual arts sector is not as strong in Bristol International Festival. There are year some quarters as it should be. round programmes of high quality gallery- based exhibitions and events at Spike Island, In the 2018-22 National Portfolio investment Arnolfini, Royal West of England Academy round relatively few applications supporting and Bristol Museums, and a rich ecology of the visual arts in Bristol were successful, projects from smaller organisations focusing and Arts Council England has a clear on artist-led activity, that include BEEF, understanding of the strategic need to Champ, and East Bristol Contemporary, and achieve a sustainable, long-term step community engagement, notably Knowle change in the visual arts in the city. West Media Centre. We committed to setting aside significant Place-based, public realm commissioning resource to achieve this ambition, and is an emerging strength in the city, with asked two nationally renowned experts, recent successes including Theaster Gates’ Godfrey Worsdale and James Lingwood, Sanctum for Situations, Richard Long’s to provide objective advice to inform our Boyhood Line for Arnolfini, Luke Jerram’s priorities for investment. (See Appendix 5 Withdrawn for the National Trust/Bristol 2015 for brief biographies of Godfrey and James.) European Green Capital, and Fujiko Nakaya’s Between September and December 2017, Fog Bridge for In Between Time/Bristol 2015 they spent time in Bristol talking to artists, European Green Capital. audiences and organisations, in individual meetings, group meetings, and an open Bristol nurtures artistic talent with an space event for 200 people. In parallel, established network of artists’ studio we ran a social media campaign asking providers, exemplified by Spike Island and everyone to respond to the key questions Jamaica Street Artists, and a strong visual of the Review (see Appendix 1 for the social arts education offer led by the University of media campaign questions.) James and the West of England (UWE) and the Bristol Godfrey’s aim was to analyse the needs of Cultural Education Partnership. UWE recently the visual arts sector in Bristol, and make signed a Memorandum of Understanding recommendations for investment, with the Arts Council England, providing a in response to the following brief: framework for collaborative activity centred BRISTOL VISUAL ARTS REVIEW • 27 March 2018 4

The Brief

We are seeking to identify a proposition, or • To invest in the development of artists set of potential options, which will achieve based in the greater Bristol region at all sustainable, long-term step change in the career stages visual arts in Bristol over the period 2018- To include: artists’ workspace, production 22. It is worth noting Arts Council England’s facilities and temporary project space; 1 broad definition of ‘visual arts’ and the professional support networks for early need to be inclusive of the strengths of (and and mid-career artists; the evolution opportunities provided by) the range of art of higher education partnerships; practices developing in Bristol. commissions, residencies and other Areas that we believe might be usefully means for artists to build their profile considered within the scope of the and international opportunities. project are: • To maximise audiences for the visual • To deliver a programme of arts in Bristol internationally significant visual arts To include: a review of audiences for activity current visual arts spaces and total To include: consideration of the range and provision within the city; opportunities to quality of exhibition and event space in continue diversifying these audiences; Bristol and options for using these; ways work outside the city centre; art in the to enhance the exhibitions programme wider public realm; partnership working across the city spaces to maintain and co-commissioning with diverse Bristol’s profile in the national and community groups; current draw for international touring networks continuing audiences outside of Bristol and potential to attract leading artists; scoping demand for the visual arts to contribute to tourism. and potential for future festivals and • To support the development of art events; art in the public realm and partnerships & collaborative working temporary commissions in non-traditional exhibition spaces. It is expected that the To include: considering how visual arts Arts Council’s Creative Case for Diversity activity can become more than the sum will sit at the heart of any future artistic of the parts; site-specific commissions; proposals. profile building for Bristol’s visual artists; developing shared agendas with other cultural providers in the city; working with Bristol Cultural Education Partnership; initiating national and international partnerships that bring ambitious projects to the city.

1 Current Arts Council England definition of visual arts as fine art plus the experimental intersection of craft and creative industries. This tends to include: artists’ books, crafts, design, drawing, graffiti, installation, live and performance art, media arts, painting, photography, printmaking, sculpture, sound art. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 5

• To develop a sustainable business 1. Resources model, founded on prudent financial assumptions Between April 2018 and March 2022, Arts Council England will invest up to £3.34 This area is a single deliverable which will million in supporting the development of clearly identify how the above ambitions the visual arts in Bristol. are to be realised; the management and governance required to support it; the Although the headline level of investment sustainability of the work after March is known, we will resolve at a later date 2022; and its legacy. It will also set the question of how this is apportioned realistic goals relating to leverage from between particular activity streams. other investors. We are not setting specific requirements Any of these proposals will need to be with regard to wider leverage, but will developed in close consultation with expect this brief to identify realistic Bristol stakeholders and evidence of ambitions with regard to co-investment. buy-in will be required.

2. Next steps Out of scope We would anticipate that an individual (or • Solutions substantively based on activity individuals) would be appointed to lead outside Bristol the process no later than early July 2017, with a draft report received by the end of • Any proposals requiring substantial the calendar year 2017. Investment in any immediate capital investment successful proposition could be made from • Any proposals predicated on further April 2018 onwards, subject to process. revenue funding applications to the Arts Council

• Any proposals predicated on large proportions of speculative future fundraising from other sources BRISTOL VISUAL ARTS REVIEW • 27 March 2018 6

The Future of the Visual Arts in Bristol Report and Recommendations James Lingwood & Godfrey Worsdale

In September 2017, Arts Council city. The City Council identifies the arts England (ACE) invited us to carry out and creative industries, and the creative a review of the visual arts in Bristol. economy, as vital to the city’s future. The University of the West of England The Bristol Visual Arts Review was framed (UWE) recently signed a Memorandum of by the Arts Council’s decision for the 2018- Understanding with the Arts Council with 22 National Portfolio investment. Relatively a shared commitment to develop Bristol’s few applications supporting the visual arts creative economy, supporting the arts and creative industries and working together to in Bristol were successful. Notably neither establish Bristol as a national centre for arts Arnolfini nor Situations were included in the technology. Yet per capita investment from National Portfolio, and a number of other public funding sources, local and national, in Bristol-based organisations have recently the arts in Bristol is low when set alongside been unsuccessful in their bids to secure comparable cities in England (See Appendix project funding from the Arts Council. 4 for visual arts investment data compiled by the Arts Council). The challenging funding environment for arts organisations in Bristol has been Arts Council is looking for a sustainable step- compounded by Bristol City Council’s 40% change for the visual arts in Bristol. Whilst cut in grant funding for cultural provision we believe the Review – and perhaps, more over the same four-year period. The funding importantly, the conversations in the city decisions made by the Arts Council and that have informed it – can be the catalyst Bristol City Council mean that the reduction for positive developments in the city, we of public funding for the visual arts in Bristol need to preface our recommendations with will by 2022 have continued for almost a a note of caution. If the downward spiral decade and threatens to become more in public investment for the visual arts in severe. Recognising the urgency of the Bristol continues over the next decade, then current situation and the importance of a sustainable step-change becomes a very Bristol as a centre for the arts, the Arts challenging proposition. Council reserved £3.34m for investment in the visual arts in Bristol from 2018-2022. During autumn 2017, we initiated a process The purpose of the Review was to identify a of consultation with artists, organisations, proposition, or set of potential propositions, audiences and stakeholders, involving for this investment. individual meetings, group discussions, site visits, and an open space event attended Notwithstanding areas of marked deprivation by around 200 people at M Shed. Our and poverty, Bristol is a relatively affluent work has also been informed by the Arts BRISTOL VISUAL ARTS REVIEW • 27 March 2018 7

Council’s Bristol Visual Arts social media engagement with a range of new media campaign, which asked people to contribute experiences generated by Watershed. In to the central objectives of the Review, Between Time, Situations and a range of attracting responses from a broad spectrum festivals have brought diverse audiences of interests and a wide geographic area to projects across the city and generated that encompassed Plymouth, Liverpool a vibrant critical culture. and London as well as Bristol, Bath, and Gloucester. At the same time, however, the visual arts in Bristol could be said to add up to less Our relatively brief immersion in the visual than the sum of its many parts. With one arts scene in Bristol revealed a dynamic, or two notable exceptions, it is not offering complex and fragile visual arts ecology with a level of sustained activity of international a palpable energy, generated by a wide quality that a city with this density of artists range of individuals and organisations: artists, and this intensity of audience interest producers, agencies, studio complexes, should enjoy. new media labs, a range of exhibition spaces and widespread commissioning Using the objectives set out in the brief, activity in the public realm. Bristol is a we have identified the following priorities: city of makers: artists, musicians, writers, performers, architects, designers and cultural entrepreneurs. A recent report by Sheffield To deliver a programme of University identified Bristol as the British city internationally significant visual with the highest density of working artists of arts activity all kinds after London and Brighton. There is a clear appetite amongst Bristol’s The past decade has seen the emergence of artists and audiences for a wide range Spike Island, Situations, In Between Time and of internationally significant visual arts Watershed’s Pervasive Media Lab as Bristol- experiences. This need is best addressed by based organisations and projects with national a regular programme of ambitious outward- and international visibility and credibility. facing exhibitions, projects and events in an Through its creative campus, UWE is easily accessible, prominent central location. becoming increasingly involved in the creative life of the city in which it is based. Historically, Arnolfini has been at the heart of this offer, and its current predicament Perhaps most importantly, there is has loomed large over this Review. The clear evidence of audience interest and importance of Arnolfini’s location in Bush engagement with contemporary arts House on the harbour front, adjacent to experiences of all kinds. There have been the Architecture Centre, almost opposite strong audience figures for particular Watershed, and within walking distance exhibitions at Arnolfini, Bristol Museum of M Shed and Spike Island – within a & Art Gallery and Spike Island and for University-designated Creative City Campus BRISTOL VISUAL ARTS REVIEW • 27 March 2018 8

– should not be underestimated. Very Alongside this, Arnolfini needs to produce a few cities in the UK offer this cluster of robust business model that can ensure its cultural spaces in close proximity, and the future financial sustainability. This process closing of the most prominent spaces for is, we understand, already under way. contemporary art within this cluster would Whilst the location offers significant income- be a significant loss to the visual arts offer generating possibilities, given recent history to the city’s audiences, which would not be of over-optimism, and recent experiences, easily replaced. there needs to be realism about targets.

As evidenced by a number of highly visited We recommend that the responsibility for exhibitions in Arnolfini’s spaces over recent the conception and delivery of a successful years, there is strong local recognition of the financial operating model should be shared building as a place for high profile, museum- between the Arnolfini Board of Trustees and standard exhibitions or presentations of UWE. Clearly, the Arts Council would have artists with an established track record, as an important role in shaping this model, and well as occasional historical exhibitions. In would need to have detailed oversight of its the absence of any obviously compelling ongoing operation. alternatives, the Arnolfini spaces continue to offer the best current option for these kinds The business should run on an open-book of exhibitions in the short to medium term. basis and the assumptions and agreements made in the financial plan should clearly The recurrent problems of Arnolfini over relate to both programmatic and operating the past decade are well-known and do models. On the condition that a new not need to be rehearsed again here. relationship can be successfully brokered If the Arnolfini is to fulfil its potential, a different partnership with UWE, to whom and a new business model approved, we the freehold of the building was sold, and recommend that the Arts Council makes with whom a lease was agreed in 2015, a substantial investment from 2018 -2022 is a prerequisite. This cannot be achieved for an ambitious year-round programme through a tweaking of current arrangements; in the Arnolfini spaces – ‘The Arnolfini it will need a radical reworking to ensure Programme’. step-change is achieved and built upon. As a major potential investor, we strongly Whilst the scope and shape of the recommend that the Arts Council should programme would need to be agreed take a central role in brokering a new between the Arts Council, UWE and agreement with UWE with the aim of Arnolfini, we recommend that the primary alleviating the heavy weight of the current focus of the Arnolfini Programme should operational arrangements and enabling a be to make the building as engaging and significant proportion of any new the Arts animated as possible, strengthening its Council investment to be earmarked for connection to local audiences and building an ambitious programme of internationally its national profile: fundamentally, by the significant visual arts. presentation of an inspirational exhibitions BRISTOL VISUAL ARTS REVIEW • 27 March 2018 9

programme that is both innovative and of those organisations operating successfully the highest stature, in keeping with a city of – for artists and audiences alike – a platform Bristol’s status. During our time in the city would be created from which Bristol could many people spoke positively of the impact be seen to be amongst the more ambitious of exhibitions such as John Akomfrah, visual arts destinations in the UK. Richard Long and Grayson Perry’s, arguing that such exhibitions demonstrated the Whilst making our recommendation that an impact that Arnolfini can have on the cultural international contemporary arts programme life of Bristol, and underlining the continuing should continue to be centred in the spaces importance of Arnolfini’s identity to a wide at Arnolfini, we would like to add a caveat. range of artists, audiences and stakeholders When Arnolfini moved into Bush House in the city. in the 1970s, the exhibition spaces were amongst the best for contemporary art in Although there are a multiplicity of exciting the UK. In comparison with a number of ideas as to how a re-purposed Arnolfini newly built or repurposed galleries which might play an ambitious role in reimagining have opened around England since the turn the civic environment in Bristol, we believe of the century (Baltic, Hepworth, Whitworth, that the priority over the next four years Nottingham, Margate etc), the Arnolfini should be to make the building a vital centre spaces now seem adequate rather than for contemporary art, artists and a broad exceptional. audience. We would suggest that, despite challenging There are interesting precedents for financial circumstances, a long-term institutional alliances and developed objective should be for Bristol to have a partnerships, in other British cities in more distinctive 21st century space or recent years, notably the Whitworth spaces of scale which would generate real and Manchester Art Gallery and Baltic excitement amongst artists and audiences, and Baltic 39 in Gateshead / Newcastle. and enable Bristol’s contemporary arts offer The identities and programmes of the to be more visible within the national and respective organisations have kept their international landscape. We recommend a distinctiveness, whilst the organisations more in-depth ‘scoping’ review involving the and their communities of interest have major stakeholders in the city and the region benefited from co-ordinated planning which should identify possible roadmaps and programming of exhibitions, events towards this objective. and learning and shared marketing and fundraising efforts.

We would however wish to make our view clear, that a city of Bristol’s size and status should be able to accommodate both Arnolfini and Spike Island, and with both BRISTOL VISUAL ARTS REVIEW • 27 March 2018 10

To maximise audiences for the visual city, its artists and its audiences, and that arts in Bristol / resonates nationally and internationally. To support the development of Such an initiative has the potential to create partnerships & collaborative working a strong magnetic pull for audiences, to The recommendation for a continuing offer significant production, exhibiting and Arnolfini Programme in the spaces at networking possibilities for artists and Arnolfini/Bush House is based on the view organisations in the city and region, helping that Arnolfini’s identity retains significant make national and international connections, value and offers the most important building and to be the catalyst for new promotional block for engaging sizeable audiences for and funding possibilities. This could add to contemporary visual arts in Bristol. the compelling story about Bristol as a hub for the creative industries and as a city of In parallel, it is clear that Bristol is well artists that other major arts organisations placed to host an annual or biennial project and festivals in the City are already telling. that would act as a catalyst for different organisations and individuals to come There are a number of relevant precedents together and present exhibitions or projects that have originated from within Bristol in a range of formats and locations in the over the past decade or so. In Between Bristol area, including a strong element of Time has, in little more than a decade, community engagement and the creation established itself as an important biennial of opportunities for diverse communities to (and more) festival with a growing national become producers of artistic content. and international presence. The Bristol and Bath Art Weekenders of 2014 and 2015 We recommend that an investment is made orchestrated by Situations showed the in a new fund for a co-ordinated city-wide benefits of a co-ordinated city-wide event, visual arts project (‘The Bristol project’) energising sizeable audiences and bringing to take place either annually or every two exposure and opportunities for artists and years, from 2019, in the Greater Bristol area. groups across the city. The Festival of There are numerous variants on this kind of the Future City, the Festival of Ideas and model taking place in major regional cities others have created strong identities and around the world. Glasgow International, widespread participation for their diverse Liverpool Biennale, Folkestone Triennial programmes in a short period of time. are three notable examples in the UK. Given the presence in the city of many We note that the Bristol arts community organisations with plentiful ideas but slender should not replicate one or other of these; resources, setting up a new organisation it can build its own model, drawing on for the Bristol Project is not a priority. The its unique strengths, including its current Arts Council should invite organisations festival activities, and pooling its energies to – including but not restricted to those produce a project which feels specific to the mentioned above – based in Bristol or with BRISTOL VISUAL ARTS REVIEW • 27 March 2018 11

strong links to the Greater Bristol area to To invest in the development of come forward with proposals for the Bristol artists based in the Greater Bristol Project in 2019, 2020 and 2021 – or if area at all career stages biennial, 2019 and 2021. Priority should be given to proposals made by organisations It is clear that a large number of practitioners working together. Organisations currently currently living and working in Bristol are in receipt of NPO, Grants for the Arts or facing significant challenges because of Arts Council National Lottery Project Grants the combined impact of factors that include should be eligible to apply to the Fund, so the rapid rate of property development long as they are part in the city, suspension of business rates of a consortium. relief, decreasing affordability of studio/ project spaces. Recent acute pressure on We would hope this would stimulate the properties accommodating large groups involvement of as many as possible of the of artists is resulting in a reduction in the key visual arts organisations in the city number of artist collectives in the city. and surrounding area – including Bristol Art Gallery & Museum, Royal West of There is a clear need to support the artist- England Academy, Arnolfini, Spike Island, led sector with increased professional Watershed, the Holburne Museum, In development opportunities and affordable Between Time, community organisations, workspace. It is difficult to see how this artist-run spaces and studios, universities situation can be addressed without the in Bristol and Bath – actively involved in decisive involvement of Bristol City Council. such an initiative, presenting exhibitions or projects of international significance within In 1998 the council offered a 125-year a focused time-frame. lease on an 80,000 sq. ft. building to a group of artists to set up a studio complex, This initiative could extend beyond Bristol Spike Island – a magnanimous offer which and Bath to take in a larger area including has turned out to be a very significant North Somerset and South Gloucestershire. investment in the visual arts infrastructure It could also develop into one interesting in the city. idea put forward for a major visual arts project (‘Great Western’) showcasing artists Over the past 20 years, Spike Island has and arts activities in the Bristol region every grown into an important and increasingly five years or so. public place, offering the provision of studios, facilities, residencies, advocacy and leadership for a large number of artists and organisations as well as a significant exhibitions programme. The Associates Programme for artists’ development, which currently has c.150 members, provides BRISTOL VISUAL ARTS REVIEW • 27 March 2018 12

invaluable support on a shoestring and leading work of Spike Island. Imaginative has clearly been generative. Over the past approaches need to be put in motion to decade, Spike Island has provided support enable this work for the advantage of artists, for Bristol based artists who have either and key stakeholders – national, regional and initiated or worked with artist-led projects local – should be engaged in this process including BEEF, East Bristol Contemporary so they can together deliver enduring and Champ. We recognise Spike Island outcomes for residents and visitors which as an exceptional model of good practice support the reputation and economy of in supporting artists’ development, and a Bristol and the Greater Bristol area. significant asset to the city and the region.

Given the significance of Bristol to the visual arts sector across the region, we recommend that resources are made available to support new opportunities geared towards professional development, resourcing and promotion for artists. The potential of a more successful programme of investment in this area would include the retention of the city’s best artists, the attraction of new artists and it would also contribute to the student retention agenda.

In conclusion, our report recognises two over-arching imperatives. First, the importance to Bristol of a first rate facility for the presentation of visual art is not in question and currently, Arnolfini in Bush House with the strong and committed support of UWE and Arts Council – operating in a tightly managed manner and delivering for a wide range of audiences – should fulfil this objective. However, key stakeholders should also begin discussions to plan for the long-term realisation of a 21st Century facility to enable Bristol to become a national leader in the field. Second, Bristol and the Greater Bristol area are in an excellent position to develop as an important place for artist development – already exemplified by the sector- BRISTOL VISUAL ARTS REVIEW • 27 March 2018 13

Arts Council England’s Response to Report and Recommendations

We would like to express our gratitude • Although there is substantial evidence to Godfrey and James for the rigour of good will from organisations and of their research and analysis, the individuals, the lack of tangible investment breadth of the conversations they in the cultural sector from the city will place serious constraints on the Arts have initiated, and the clarity of their Council’s investment in Bristol in the conclusions. future.

We note the findings of the report, and • The number and impact of artist-led welcome its identification of elements which collectives in the city make an important resonate closely with Bristol’s visual arts contribution to the city’s visual arts ambitions. ecology, and Bristol has been identified as the city with the highest density of The Bristol Visual Arts Review has started working artists after London and Brighton. an exciting conversation with artists, audiences and stakeholders that we’re keen • There is an urgent need to support the to continue. It is clear that, with the right artist-led sector in Bristol and the West response, this has the potential to be a of England with increased professional defining moment for the city. development opportunities and affordable workspace. Several key points have emerged from the report: • With very few exceptions, Bristol is not offering a level of sustained activity • There is substantial demand from of international quality that a city with artists and audiences for ambitious, this density of artists and this intensity internationally significant visual arts of audience interest merits. With the exhibitions, projects, and events delivered right investment now, Bristol and the in a prominent, readily accessible, city- West of England could begin to position centre location. themselves among the more ambitious • Bush House has been identified as visual arts destinations in the UK. the most suitable building currently • Partnerships with Higher Education are to support this demand, and the Arts increasingly important to the growth and Council’s priority over the next four years sustainability of Bristol’s visual arts sector. should be to strengthen Bush House’s role as a centre for contemporary art, • The visual arts sector in Bristol and the artists and a broad audience. West of England would benefit from the catalysing effect of an annual or biennial event which both provides opportunities to celebrate the creativity of Bristol’s BRISTOL VISUAL ARTS REVIEW • 27 March 2018 14

communities and creates a platform fenced £3.34m in a small team led by for arts organisations to raise their Claire Doherty at Arnolfini for a fixed commissioning ambitions by working period, April – September 2018, with major national and international to enable them to engage with us artists. in this work.

• As a long-term objective, there is a need In addition, we will commission a for Bristol to have a more distinctive, business planning specialist to analyse large-scale space or spaces to enable the financial figures and advise us on Bristol’s contemporary arts offer to be the best way forward for a sustainable more visible within the national and business model in Bush House. international landscape. As a logical progression from the Bristol Visual Arts 2. The creation of a collaborative Review, consideration needs to be given commissioning programme focusing to viable routes to achieve this objective. on a broad spectrum of commission formats, locations, participants and audiences. The aim will be to provide In response to the findings of the opportunities for Bristol and the West Review, our development priorities of England to strengthen their offer as a will be as follows: visual arts destination for audiences and practitioners. 1. An internationally significant programme of exhibitions, projects and events in 3. We’ve heard the need for professional Bush House, which engages substantial development opportunities to support audiences locally, prioritises the Creative artists at all career stages, developing Case for Diversity, and has a highly the best working conditions for Bristol developed national profile. There are, artists, supporting the resilience of artist- however, some unresolved questions led collectives, the availability of artists’ here: workspaces, and the provision of specialist advice. • The future of Arnolfini We will identify additional resources to • The role of UWE in the development address these needs. of Bush House

In accordance with the proposal put forward by Godfrey and James, we will commence negotiations with UWE to find a sustainable business model for Arnolfini in Bush House. As a first step, we will invest £180k from the ring- BRISTOL VISUAL ARTS REVIEW • 27 March 2018 15

Our next task will be to consider how best to invest in these priorities. In September 2018, we’ll announce the specifics of the investment we intend to make and the timeline for distributing these funds.

As future resources permit, we’ll also address the following recommendation put forward in the report:

• The need for an in-depth ‘scoping’ review involving the major stakeholders in the city and the region to identify possible routes towards the creation of a nationally and internationally significant 21st century visual arts space for Bristol. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 16

Appendices:

1. Social media campaign questions 17

2. List of individual consultees 18

3. Notes from the Open Space event at M Shed on 15 November 2017 19

4. Visual data showing comparative funding levels across cities of comparable size 82

5. Brief biographies of Godfrey Worsdale & James Lingwood 86 BRISTOL VISUAL ARTS REVIEW • 27 March 2018 17

Appendix 1 Arts Council England: Bristol Visual Arts Review Social Media Campaign Questions

Are you a visual artist, curator, or producer If you have answers or thoughts on any or working in Bristol? Perhaps you’re someone all of these questions, please email them to: who enjoys going to visual arts exhibitions [email protected] by the and events in Bristol on a regular basis, or end of November 2017. you’re thinking about exploring the visual arts for the first time. The answers you provide will be used by our Review leaders to inform a set of options for If so, we want to hear from you. how to fund the visual arts in Bristol in 2018- 22. These options will be further developed In 2018-22 we’re going to invest up to in early 2018 with the expectation that £3.34m in Bristol’s visual arts sector with funded projects and activity will begin in the aim of achieving sustainable growth. April 2018. This is an unprecedented opportunity to transform the future of visual arts in Bristol. And if you’d rather provide your answers But what could this look like? in person, we’ll be holding an Open Space event in Bristol in November. Everyone is Our Review leaders, James Lingwood and welcome. More details to follow here and Godfrey Worsdale, are helping us to answer on Twitter soon. some key questions, but we need your help too: We hope you will join the conversation.

• What does a programme of internationally significant visual arts activity in Bristol look like?

• How should we support the development of artists based in the greater Bristol region at all career stages?

• How can we maximise audiences for the visual arts in Bristol?

• How can we support the development of partnerships & collaborative working to strengthen Bristol’s visual arts sector? BRISTOL VISUAL ARTS REVIEW • 27 March 2018 18

Appendix 2 Bristol Visual Arts Review Individual Consultees

Jill Edwards, artist

Luke Jerram, artist

Eva Martino, artist/Bristol Biennial

Sarah James & Nick Childs, The Architecture Centre

Claire Doherty, Arnolfini & Situations

John Kieffer, Situations

Helen Legg, Spike Island

Alison Bevan, Royal West of England Academy

Laura Pye, Bristol City Council

Clare Reddington, Watershed

Louise Jennings, Mike Ricketts, Jane Roscoe, & Lynn Barlow, University of the West of England

Helen Cole, In Between Time

Simon Morrissey, Foreground

Jeremy Lewison, Arnolfini

Simon Cook, formerly Bristol City Council

Louise Mitchell, Bristol Music Trust

Matt Little, Real Ideas Organisation

Roger Griffith, Ujima Radio BRISTOL VISUAL ARTS REVIEW • 27 March 2018 19

Appendix 3 Open Space: ‘What should the future of the visual arts in Bristol look like?’ Wednesday 15 November 10am – 5pm at MShed, Bristol

This is a direct record of the notes taken during group sessions at the Open Space meeting on 15 November at the MShed in Bristol on the topic ‘what should the future of the visual arts in Bristol look like?’

It includes notes from each of the group sessions from which we received a record from the session conveners. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 20

1. What should the future of the visual arts in Bristol look like?

Title of session: producing with communities to explore People and Places issues around wellbeing and place, local distinctiveness and connecting people Who called it? to place to become stronger and more resilient. Sarah James, Architecture Centre Placemaking is an essential component Who was there? of the visual arts – we discussed the Included Upfest, Spike Island, BCC nature of architecture, urban spaces and Cultural team, UWE, Arnolfini, Tate 8, the spaces in-between buildings being freelance producers and individual artists as important for the production and showcasing of art as dedicated venues. Notes: Resources and capacity of artists, the There was a core number in the group community and public places are an who stayed for the whole hour and people essential part of Bristol’s cultural ecology came in and out as well. and what makes Bristol special and unique. It is important not to lose the very Any Actions? nature of innovation and entrepreneurship 2 main points – we need a joined-up which happens spontaneously across approach to sharing intel, where the Bristol either. cultural offer is happening and where it’s not and a shared language/strategy There was a consensus that there is to articulate the value of Bristol’s culture so much excellent visuals arts and to its own regeneration, to developers interdisciplinary work going on in and to the UK (Manchester kept being Bristol but often we don’t know about mentioned as a shining star in its profile it and there is a risk that there is super and visibility of its culture and local saturation in particular communities and distinctiveness. localities and area of cultural deserts in other wards. Also, short term projects Main points: don’t take into account local capacity, champions and skills and often seem to Architecture, design and the built be starting again in terms of engaging environment is the only art form that is and working with local people. There are all around us, everyday but it doesn’t also the unusual partners and settings necessarily sit easily in the ACE definition which aren’t ACE funded which play of Visual Arts even though placemaking an enormous role in supporting culture is seen as an important part of the Bristol outside of the city centre (such as Visual Arts Review. Placemaking is we libraries) – this is critical when often discussed about community capital, it’s the critical mass of cultural offer is in about public realm, great design and co- the centre and there are real barriers to BRISTOL VISUAL ARTS REVIEW • 27 March 2018 21

families and communities accessing the approach to working with artists, artist city centre offer because of poor and studios and placemaking as part of their expensive transport. development plans.

Discussion was had about the role There was overwhelming support for of artists in placemaking and the an approach, strategy and process of regeneration of local areas and how this how all the many components that is a seen as very desirable but can lead make Bristol special (artists, venue, to gentrification. How do we talk direct festivals, architecture and communities) to developers and the BID’s coming onto needs to be more connected and line now such as the Enterprise Zone collectively promoted and advocated for and the Harbour side BID? – we need to outside of the city. There needs to be have a shared language and possibly hard a sustainable approach to working with economic evidence of the impact of a and in communities around place and culture led regeneration and the support local distinctiveness and more joined up of BCC to make the case to developers thinking and less competition within the about how they can support a sustainable arts in Bristol. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 22

2. What should the future of the visual arts in Bristol look like?

Title of session: • Other cities are making strong What about craft? relationships between makers and industry e.g. Derby Silk Mill/Derby Who called it? museums Ruth Hecht • In the region Walford Mill Crafts Centre has not been funded for 2018-22, the Who was there? Devon Guild might be moving to new See some contact details below premises • It’s good to use the word ‘making’ or Notes: ‘maker’ rather than ‘crafts’ as not so General loaded /more fluid

• Crafts / the handmade / making is Craft ecology in Bristol now very popular with lots of amateur makers and interest in crafts with • Grayson Perry exhibition at Arnolfini the general public is high because of is one of the most popular exhibitions programmes like the Great Pottery they’ve had with a fairly diverse Throw Down audience in terms of class and age • Many artist’s practice includes craft • There are dozens (hundreds?) individual makers – amateur and professional… • Craft has become separated from look at all the Art Trails in local the rest of the Visual Arts… in some communities where many people sell cases this is because the sector has ghettoised itself • There are pop up craft fairs & pop up craft shops as well as static shops • In other cities, there are spaces for particularly around Colston Street makers which include incubator space, as well as the Guild, Ken Stradling business support, retail opportunities Collection, applied art collection at the e.g. Cockpit Arts in London Museum & Art Gallery • There are real connections between • There are making facilities / studio innovation, creativity, materials and spaces e.g. the Factory in Knowle design with makers increasingly West, Centrespace (originally set up working within industry, with digital, as the Craft Centre), at UWE (e.g. etc. expertise in 3D printing), Hamilton • Fab Cities – by 2030 there will be hubs House, the Maze in Barton Hill, Hand which have data and design spaces Made, Made in Bristol where people get things made locally • There are some exhibition spaces e.g. rather than importing them from Architecture Centre, Centrespace, elsewhere Museum & Art Gallery, the Vestibules, Knowle West Media Centre, RWA BRISTOL VISUAL ARTS REVIEW • 27 March 2018 23

• Individual makers are setting up CPD Questions events e.g. 75 people paid £30 for • How can craft skills be celebrated? the Design Trust to do a marketing From community projects, such as workshop Briswool to designers working in • Makers are involved in community / industry to individual makers to artists health and wellbeing projects both in whose practice includes ‘craft’ and outside Bristol e.g. heritage project • Who are the key makers in the city? about the Somerset Levels / Vicky Harrison at Paper Village • What impact have Crafts Council initiatives such as Hot House / Make • The Crafts Council doesn’t seem very Shift (which looks at innovation and visible / have a presence in Bristol industry) / their Education manifesto • There is no single focus or network for had on the city? How can we get them craft in the city to engage with the city? • Bristol Museum & Art Gallery is • What kind of craft infrastructure do programming craft e.g. Woman people want to see? Hour Craft Prize, Radical Clay… but • Should there be a craft-led space? exhibitions either have to make money or include their collections. There • How can curators be made more might not be a dedicated Applied Arts aware of craft? curator in the future. • How do you grow a market for craft • Briswool was the most successful in Bristol where people are prepared exhibition at M Shed to pay more than £10 or £15 for something… but £1000s? How can • UWE and other partners have recently makers get advice and support about produced a report about Design routes to market, locally, regionally, in Bristol; UWE has individuals nationally and internationally? with an interest / specialism in craft (e.g. Matthew Partington) as • Where are the incubator spaces? well as facilities (Centre for Fine • How many makers are accessing Print Research) and relevant MA business support which is there courses (e.g. MA in curation & MA in for visual artists or should there be producing) bespoke CPD? • There is a tradition of very high • Do makers want to come together e.g. quality adult education classes in in Maker’s meetings? craft in Bristol which have led to • Is Craft Net still going… are people people becoming full time makers part of this network? What other in disciplines such as enamelling, networks are they part of e.g. Creative jewellery, ceramics, stained glass, Bristol, Crafts Council directory. particularly at ‘Queens Road’ (now run by South Gloucestershire and Stroud College) BRISTOL VISUAL ARTS REVIEW • 27 March 2018 24

People happy to share their contacts already happening… find out what the @ruthhecht needs of the sector are. The people whose contacts are above would @angieptextiles be happy to be part of this and help @utopiandawn spread the word. @cmstealey • We need to ensure the Crafts Council is part of the conversation… Annie [email protected] Warburton is their Creative Director [email protected] and used to live / work in Bristol so [email protected] / would be a good person to talk to & [email protected] invite to take part in a conversation • The needs of makers need to be taken Any Actions? into account in the review of the Visual • Andrew Proctor from ACE said he’d Arts in the City, otherwise they will be be happy to help facilitate a discussion forgotten and side-lined because visual about the future of crafts in Bristol… artists have a stronger voice (possibly Ruth Hecht said she’d meet with him because they are more organised in to discuss and make happen… we studios / there are building based visual need to join the dots… find out what is arts organisations) BRISTOL VISUAL ARTS REVIEW • 27 March 2018 25

3. What should the future of the visual arts in Bristol look like?

Title of session: artists in decision-making. UWE/BCC What is the review process? were key stakeholders [where were the other HEIs? E.g. School of Arts, University Who called it? of Bristol; Bath; Bath Spa]. Timeline is consultation to be done by Xmas, with Julie McCalden report, response and action plan published Who was there? in first quarter of 2018. Julie McCalden, Angela Piccini, Vicky ACE CONTEXTS & Smith, Chris Greenwood, Katy Connor, ARTIST INVOLVEMENT Bryony Gillard, Peter Heslip, Jodie Marks, Q: A very large percentage of delegates Stewart Geddes, Jackie Yeomans, Ali chose to be at this session, which Roche, Godfrey Worsdale, Elsa Collinson, suggests that it should have been framed Josie Cocksam, Gordon Dalton, Alison before the day. Request that all-in space Catlin, Lara Goodband, Karanjit Panesar, declare whether they are salaried and Ailsa McKay, Jodle Inkson, Richard Storey, therefore paid to be here? Helen Grants, Martin Rieser, Ashley Peevor, Rachel Cartwright, Eva Martino, Most unpaid. Esther Mars, Heca Mrvova, Adam Green, Q: What about the Creative Case for Richard Broomhall, Josephine Lanyon, Diversity? There are 5 Goals published by Theresa Bergne, Trina Grayska, Ros Ford, ACE. But what is to be done given that the Lucy Austin, Matt Gillen, Linda Bothwell, people in the room today don’t represent the Liz Lloyd, Elise Hurcambe, Paula Orrell, City? We are not a diverse gathering. How is Martha Crean, Lhosa Daly, Sarah Roberts, ACE achieving its own diversity goal? Lucy Cooper-Willis, Sue Lowe, Vic ACE respond to say the review has Tollotson, Clodagh Scott, Julia Carver, been informed by Ujima etc. But there Carl Laidler (and many others!) are further questions about the need to Notes: involve more diverse voices and bodies in the process. INTRODUCTION Q: Who has been consulted? ACE frames the conversation. The NPO UWE/Spike/Arnolfini were the primary investment round informed this process. stakeholders 46 applications/18 funded. Not many visual arts orgs chosen. ‘We had to do Q: But what about artists? something’. £3.3m set aside, which is ACE responds that artists have this roughly equivalent to previous Situations/ event to feed in and through direct Arnolfini funding. ACE say if felt wrong to representation. [But this is consultation, ‘decide or not delegate decision-making not involvement or co-production of to City’. ACE wanted to involve orgs and solutions] BRISTOL VISUAL ARTS REVIEW • 27 March 2018 26

Q: What role will artists actually have in MONEY terms of co-producing the policy? Q: NPO versus ringfencing? Can money This feels like decisions being made are in support only existing orgs or also project the mode of ‘doing to’ artists rather than work? ‘doing with’. ACE confirm both Q: What about the middle tiers? Q: What is likelihood that money will go What are the role of artist-led orgs and somewhere else than Arnolfini/Situations? small studios in addition to individual ACE confirm that everything is on the table artists. It’s about the involvement of all to play for these layers in strategic development rather than relying on large orgs to Q: Is this new money or existing? ‘represent’ when they often don’t ACE confirm this is existing money from Q: Artist-led orgs in Bristol (BEEF, Champ, next financial year Resident, Interval, etc.) need to be Q: If artists are the river swirling round involved in the strategic planning. Not organisational fortresses…we want the just consulted. But to have expertise review to join the dots. What about S106 recognised and drawn in. monies? Why isn’t this enforced? What’s Q: The review reproduces power beyond ACE? And how can ACE help BCC asymmetries and hierarchies of to identify and capitalise on other funding knowledge and expertise. It’s a sources? conservative and conventional approach to Q: How can we make visual arts relevant strategic planning. How do we grow artist/ to all communities in order to address producer/programmer/curator network? change and inequality? What about the ACE answers by pointing towards the affordability issue in Bristol? Theatre Bristol model and whether this Q: This is a very wealthy city. How do might be an answer? we pressure wealthy communities, Q: Why is there no conversation between individuals and businesses to invest in ACE and the full and diverse range of the arts? The big firms don’t let people in. organisations? Difference between philanthropy and the city committing to invest in the arts? How ACE say that no one approached them. can BCC get smarter about using Section DIY Arts Network was involved in 106 money and think more boldly about development of BCC Cultural Strategy economic/financial modelling? National but there is a lack of knowledge and and international models? S106 money communications can only be used if it directly mitigates the Q: Will outcome reflect all other ACE impact of the development. corporate strategies? Q: Artists early less than £10k annually. Yes. Everything must sit within the 5 What are we going to do to commit Goals to proper pay and simplify applications processes? To make funding accessible? If we’re serious about broadening BRISTOL VISUAL ARTS REVIEW • 27 March 2018 27

participation, we need to simplify Q: What are the issues specific to processes and frameworks. Bristol? Financial resilience? Barriers to engagement? Claire Doherty (Situations/ CITY OF BRISTOL Arnolfini) says ‘it’s time to give up some Q: BCC wants to know what new financial control’. instruments might look like and we need Q: How do we get businesses to join in? to involve artists in this Business Improvement Districts provide Q: What is the BCC/ACE relationship one model. We need Bristol businesses to given BCC’s poor record of arts funding? participate.

ACE say that BCC situation is challenging REGIONAL IMPACTS and unlikely that any money is coming from the City. ACE challenges rest of the Q: How far beyond Bristol does this city to pitch in funding. Is £3.3m enough? stretch? It’s modest compared with other cities. ACE confirms that this is Bristol rather There may be a need for a cross-arts than SW but that everyone can participate. festival. Manchester does well leveraging [Others contribute that funding decisions money to fund the arts. E.g. Tax from in Bristol impact the whole South England airport. New financial models in Bristol are arts landscape] needed and nothing can happen till Bristol does things differently. FUTURE ACTION Q: What is the role of Bristol Museum and Q: If new relationships emerge today with Art Gallery given the significant cuts to commitments to share resource, how will their funding? (reduced to £1.2m – needs this actually come into being? How do we fact checking) make the report an actuality? ACE say that this is subject to Q: With the talents in ACE and within the confidentiality agreements but yes there visual arts, how do we more effectively are many ongoing questions about plan and take sustainability into account? resource cuts Q: Other orgs have shifted arts funding Q: Can ACE step into Bristol like it did in into ‘engagement’ and ‘impact’, which Walsall? reduces diversity of practice. Should artists always have to create ‘useless splendour’ Q: What is the role of UWE as Arnolfini that just gets bums on seats? Is that the landlord? Should Arnolfini remain in its only driver? physical HQ? How do we ensure this? Q: Who catalyses the new fusion Any Actions? between powerful institutions? If not Is Theatre Bristol a model for the visual BCC, then who? Why is UWE the only arts? What’s its relationship to DIY Arts HEI in this conversation? There is a Network? How do we work with DIY Arts diversity of partnership modelling across Network to bring artists and artist-led HEIs organisations into strategic planning? BRISTOL VISUAL ARTS REVIEW • 27 March 2018 28

4. What should the future of the visual arts in Bristol look like?

Title of session: Language: Big discussion around what a Making It Happen (Together) How can we Producer is and our understanding of the nurture, grow and share producing talent term. Whether peer to peer, sector and in the city (and beyond)? non-sector, nationally and internationally. Cross art form working. Who called it? Producer or artist? Artist Producer? George Bolton – Arts Producer Independent arts producer? Public art producer? Does it matter. Who was there? Producer as translator – ability to shape John O’Connor different stakeholder communications to Shani Ali (Room 13 Hareclive) create access and opportunities for ideas Sean Kerr and artists. Rowan Fae Multiplicity of role Rob Bowman Sarah Corbett Language used is often tailored to personal Martha King approach, i.e. ‘Makers Happeners’ Deborah Aguirre Jones Would a network define? Would we want Alexis Butt this? Claire Titley Lhosa Dhaly Idea to make the multiplicity more Vic Tillotson visible, to celebrate the differences and Ali Roche the specialisms – understanding how Anna Wilson Producer’s in the city self-define their roles. How could they help you? Grow Notes: and nurture artists? Create a sustainable network of Producers with different offers What is a Producer? What does a Producer and capacities to make things happen. need? Where do you start? How do we Potential qualified and respected – comes do it? How are we qualified? What are hand in hand with value in process. the barriers? How do we qualify funding people and their time to make things Other end of the telescope – it was happen? mentioned that we need to look at this from the other end of the telescope. How operate whether connected to an Understand that the culture of production organisation or independent. Discussed has perhaps been qualified in the city that the collective notion is powerful, often due to Bristol’s unique ecology and holds more weight and access? City as a legacy of production (i.e. venture capital place of abundance. But how can we get philanthropist investment creating better? How better negotiate the barriers large organisations with their individual between inside and outside organisations? identities). BRISTOL VISUAL ARTS REVIEW • 27 March 2018 29

Instead we should ask ourselves WHAT This would allow Producers (wide DO WE NEED? HOW CAN WHAT’S OUT definition) to support themselves for a THERE FEED US? WHAT DO AUDIENCES R&D period, translate ideas into words and WANT? HOW CAN WE PRODUCTIVELY provide support for the time and process CONTRIBUTE TO OUR LIVING HERITAGE needed to shape an idea to the next stage. THROUGH THE ARTS? HOW CAN WE Would be a ring fenced local seed fund SUPPORT EACH OTHER GENEROUSLY? that would provide org development but Funding – For example, if we were to say for independents. Fund that supports to the Arts Council what we needed do and values PROCESS. Sustainable model make things happen. What would we say? that also supports artists to realise their ambitions. Models such as Theatre Bristol, UK Theatre Producers and Bristol Creatives 2/ POOLED FUNDING FROM all offer valuable resources. Could this be CORPORATE BUSINESSES. expanded to embody a more cross- art Support /set up a fund for businesses to form approach? Visual arts. fund Producing R&D. Understand the need Identified resources and approached that and value of their role cross – art form. are desired amongst the group – Mentoring/sessions in businesses could be offered in exchange. Donations from • Mentoring – peer to peer support / merchant philanthropists? Support from buddy scheme ACE mentioned. • Informal networks • Pooling of resources and templates 3/ PLATFORMS FOR ENGAGEMENT/ • Collaborating EXCHANGE. How do we qualify the ever-increasing International outward looking agenda. need for MONEY FOR PEOPLE, rather Creation of more space for this, subsidised than tangible items in funding bids? Often access for independents, etc. ‘Spike misunderstood on a national level in Associates’ Model translated into a funding applications. Producers network, potential membership fee. Exchanges, national and international Higher education – could help hugely talent development. – Ability to scale in opening up possibilities of what a ambition to international contacts whilst producer is / could be. maintaining integrity and high profile(ness) Different levels of support in the city. of work. There are some fantastic initiatives 4/ PRODUCERS PEER NETWORK. offering tailored support at high levels (e.g. Watershed Producer’s International), local? More specific to Bristol/SW based but need for different levels of sharing and context and ecology. support to create a Sustainable accessible Established in the city for resource sharing, model. support and exchange. Could exist in form of Open space focussed on producers Any Actions? that takes place bi-annually. Expansion of 1 / CREATE A PRODUCERS RESEARCH Theatre Bristol network to support and AND DEVELOPMENT FUND. share cross art form resources. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 30

5. What should the future of the visual arts in Bristol look like?

Title of session: Any Actions? How make a better use of Castle Park for Engage students and new families the Arts A survey of local people residents & community Who called it? Sirius Rocio Bucheli Ros happy to deliver in summer Big people play sessions with young & old Games we Who was there? used to play in any language using space claiming the space making the space Ros martin playful Notes: Making the most of visitors to the city in the area artists selling crafts & offering Beautiful space that is underused crafts and Arts buildings are dilapidated in the area. It has interesting history & landscape. To engage Showing contemporary artwork and in transatlantic history of the city to inform installations the present. Capitalising on people who Learn and share craft skills visit the city for its history & architecture Explore a covered area A monthly weekend event a Castle park art hub with food soup music, stalls In the future, would wish buildings to be used as an artist space & hub. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 31

6. What should the future of the visual arts in Bristol look like?

Title of session: Clear and BIG Ask is required – KMPG Show me the Money! invested £1m in Green Capital – they did not get £1m of value from this – can we Who called it? demonstrate what £1m of support from KPMG would do for the cultural sector Lhosa Daly in Bristol clearly. What is the return on Who was there? investment? Rob Bowmen, Clare Titley, Sarah Roberts, Are only institutional problems being Harry Duncan, Rachel Cartwright, Sarah addresses by the £3.4 million? Is it a Roberts, Elisa Hurcombe sticking plaster? Are their sustainable business models being put forward by Notes: those who may be able to access the funding? Where is sustainability in all of If the review is allocating £3.4 million to this? the Visual Arts in Bristol, how do we turn it into £50m? Good examples of other cities attracting funding more widely – Sheffield – city Partnerships and leverage takes time – can working well to unlock funds, civic and this money be released in stages as and historical leaders, University, Philanthropy, when leveraged funds becomes available? Private collections, International Can some of the £3.4 be set aside to Collectors, museums at heart of it. leverage more funding – is a match Hull – has a perceived need – no funding pot in and of itself? Yes – or sorts. perceived need in Bristol. Bristol already We need to be more ambitious to be able coolest place to live – what more does it to access more funding. Orgs can lead need? on this and ensure that there is access to Property Developers – where are they in funds for artists and producers. Prevent the equation? What is there responsibility isolation of artists. to put back in? Do Orgs have the capacity to take the S106 – Bristol City Council taken away wider view and approach businesses, S106 from use in arts. Taking money philanthropists and investors on behalf of away from artists. the city? The Cultural Strategy for the city does not set out an “investable” ambition Austerity is impacting our ability to fight in for what we are trying to achieve. You can the city for funds – we are being pitched can’t take it to investors at the moment against libraries, parks, lollipop ladies. and say “get in involved”. AND we are being asked to resolve social care issues. Is collective leadership possible? Is it ogrs? Is it individuals. Who can lead on bringing Working together to be visionary is hard. Investors – together? BRISTOL VISUAL ARTS REVIEW • 27 March 2018 32

Use some of £3.4 to ensure visual arts are ICA £1 membership for the day. Does it able to articulate their social impact – so have any impact? Negative or positive? that they can access social investment Arnolfini not big enough to charge some funding. Visual Arts not prepared for exhibitions. How does charging impact competition in this area with social access and diversity? enterprise and cics, we are charities who are not experienced in creating sustainable Tate Soul of a Nation – important business models which can repay exhibitions priced at £12 – who is going? investment. Who is it for? Other examples of new money – Philanthropy – can those who love the Manchester – Bedroom Tax from hotels visual arts pay something? Can this be and tax on airport tickets being used channelled city wide? to fund culture and public parks in Promoting Donation – while not Manchester. excluding. Can Cultural Destinations Bristol & Bath Underpinned by responsibility to pay open discussions with the airport and port artists fairly and properly, yet dream bid in Bristol re a similar tax? Import/Export? and do important work for humanity. Big Cruise Liners? Need for an ecology at all levels. The Building on our strong international profile Ecology in Bristol has declined and no- – Tourism. How can we champion this one has audited property everything that more? has been lost in the last 10-15 years. We Can Cultural Destinations get involved are now operating at rock bottom and just with the Bristol Harbour side and City recycling. Centre BID – could they support the use of Can the £3.4 million not just be for one derelict spaces? organisation, can it be thrown up in the air Bristol Arena – do we really need this to create money for development activity – can funds being used to build this be for artists? Remodelling takes time and repurposed? Level of Capital funding costs. required in the city – where will is come How much did Situations or Arnolfini from? Level of ambition cannot be funded put back into the city as organisations? at the moment. Sanctum – did money have impact in One ticketing platform across the city Bristol or in Chicago? where % goes back into funding cultural PM Studio Watershed and Kaleider organisations. are given money to actually create and Ticketing – Lots of issues around visual develop. Where is this happening in the arts being ticketed. Sen as very negative. visual arts? Spike? Bristol Biennial?? But it could it be supported for one big Artist Led sector? event per year? How can Harbour Side Ecology needs different levels though Festival remain free all the time? Level – don’t want to have to go to London to of work and development not valued if experience visual arts. everything is free. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 33

Football Analogy – if want to create a great Any Actions? football team invest in Academy model – Lots of ideas to take forward to support develop talent and then sell it on/out?? and deliver Bristol Cultural Strategy. What is happening to the talent coming Actions identified for Cultural Destinations out of University? Where is it going and (see above) what is it doing? Have more ambitious conversation Take council members to other cities with potential funders – think bid – where investment in culture is successful endowments, hedge funds, return on and see results. Soil in Bristol is fertile – investment, social investment. but how do we sustain things longer term – not replanting bedding plants every year, but growing perennial and evergreens. Conferencing Industry in Bristol is vibrant – what is value of having it in Bristol? Arts & Culture is undervalued in this – don’t’ showcase for free – charge them. Discuss this with Cultural Destinations and Visit Bristol. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 34

7. What should the future of the visual arts in Bristol look like?

Title of session: Other organisations such as universities Artist led approaches to urban planning – are also benefitting from this cultural working with organisations to think and richness. Both the council and the work beyond gentrification. universities should therefore contribute to sustainability of culture. Who called it? Can artists be involved in strategic, Angela Piccini, University of Bristol planning spaces/conversations? Notes: The planning process doesn’t lend itself to this. It’s difficult to get developers to LEP and metro mayor money and other be open to it. regional strategic bits of money could be used to feed culture. Artists can demonstrate different economics, different ways to live Individual planning does not provide together. Going beyond public artwork money, necessarily – they have other commissions. priorities. KWMC; ‘We Can Make Homes’ is citizen-led home building initiative using Affordable spaces have diminished in wiki-house and other things, working with Bristol. architects and residents. Looking at how The success of Bristol squeezes out can it be done together and locking in the artists with property prices rising. benefits (of gentrification or increased value) for them. A very different kind of conversation with Local authority is needed. How can we look at what’s already in a community and how can we facilitate We must re-frame – how can we offer live/work spaces (for artists and others?). something to councils (rather than only Open dialogues between artists and asking for money)? communities. Including everyone in this Artists need to demonstrate how conversation. working with artists can be a benefit to Try stuff out – releasing pockets of land, them, with models and statistics to show using buildings that’re underused. On the the effects of culture/art. edge of the city. We need to persuade combined authority This is within an existing community; it to work with artists. would be different in a new development/ Because of ideas (beyond simply community. Bristol is uniquely rich funding) which are rethinking and in cultural activity, and this makes it experimenting with living and being, and interesting to developers. Council needs creating the city differently. to be aware of this. New cultural strategy is being written (combined authority?). Interesting that BRISTOL VISUAL ARTS REVIEW • 27 March 2018 35

nobody in the school of arts was writing Arts are not peripheral. It’s an active the Bristol Cultural Strategy. transformation – it’s worth trying out DIY network, held by Theatre Bristol. different routes, e.g. not going via the About culture, with informal working culture conversation, try going to the groups. Open access. conversation about other things such as space. Bristol City Council (BCC) – should they expect/invite artists and arts organisations Who are developers that need these to be around the table, writing strategies? conversations about re-invention, about new models. Arts officer (previously Aldo Rinaldi) post is being reviewed. Is there a need to provide for non-social artists? Planning money – can it be re-purposed? Art can be used as a quick-fix, like a Mixed user groups – integrate arts sticking plaster, rather than being set and culture into health and all other up in a way that engenders meaningful departments. E.g. old peoples’ homes / engagement. artists. Longer term involvement of artists BCC space review currently being done is more likely to lead to meaningful – neighbourhood partnerships (which are engagement. Short, 3 month projects often just a few people because it takes are often done to tick boxes, for token a lot of reading). The only way is to keep engagement. pushing. Can paid people lead the way on this? Politics have changed. Spatial plan is being written. Review is Local authorities are in appalling happening because of the combined situations. authority. Funding is being cut. It can feel like you’re shouting in the We need to be very sophisticated. wind, but now is a good time to lobby in The commercialised model is not North Somerset. appropriate, the connection engendered A chain would be effective; between organisations and audiences is Freelancers – arts organisations – ACE. based on a commercial model. Resources are being squeezed. How does involving artists in the Now is really the time to have these planning process work well? conversations, about innovative models. How does it avoid the gentrification and Often the people who apply for consequential out-pricing of artists? opportunities to work with new models London examples – ground floor spaces, are not artists. Housing and energy are longer leases, 9 Elms between Battersea having to be re-thought – these are hot Park and Vauxhall. topics. These conversations are easier in areas that are not premium value. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 36

Re-map the city, test models then evolve Independents/freelancers wanting to be culture-rich areas and re-offer it back in the discussions should contact the DIY Bristol has lots of empty spaces but Network. difficult to use because of rates/council Note: there can be a tribal difference tax. between council officers and elected Conversations are needed about how BCC councillors. When lobbying, make sure manages space/s. the elected councillors are involved, not just council officers. What are the ‘soft’ values of having artists in empty spaces? DIY Network are developing communications and accessibility (people You can apply for discretionary rates relief in the discussion group didn’t know how via arts team in BCC; a small amount is to find it/them, to get involved). allocated for this. But this isn’t waived; BCC must pay it. Empty shops scheme The timely nature of these offers (from was too successful; maybe council needs artists and cultural practitioners) being to lobby central government. made NOW. Getting the language right. Other cities; examples are cited, such as Being pro-active. Manchester, but they are likely to now be We can’t rely on others doing it for us. experiencing the difficulties of less money. How can the conversation be an offer, Any Actions? rather than an ask? Finding a contact email address for DIY Network. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 37

8. What should the future of the visual arts in Bristol look like?

Title of session: Big Orgs need to be transparent. What would an experimental and G4A is a horrible process transparent redistribution of funding look Are artists willing to lead in publishing like? budgets and outcomes from grants? Who called it? Festivals: Oliver Sutherland Could we consider long term funding? Something with more life and Who was there? engagement with the city than a few days Loads of people (30?) or weeks. Expectation for artist lead orgs to do the Notes: same thing – not sustainable or tenable. Redistribution of 3.3M into smaller Sucking up a lot of resources and funding. amounts How do we get to a point where ACE • How would you make ‘it’ transparent? identify Bristol as a city of excellence • What does experimental look like? within Visual Art as well as Theatre, Music [alternative to ACE current process] and Performance? Process: Ideas: Transparency: • Different forms of applications ACE Grantium can be a barrier – current • Peer review funding feedback for under 15K does not supply • Picture this / Artist lead commissioning enough response for artist lead groups to body – small scale and large scale. make effective change to applications and • R+D trust fund dissuades groups from applying again. • Artist lead building – Asset that has Funding costs for evaluating applications a longer life span than a 12-month is limited – Henry Moore Foundation split project or a number of smaller projects. 25% yes 25% no 50% liked but unable to Asset that feeds and supports itself. fund – feedback unachievable. • Grow Money – interest or return that As a consequence, could ACE supply can then provide seed funding generalised feedback for applications. • International residency and network % feedback on each ¼ funded g4a development – Spike and Arnolfini both applications to give and idea of what is had residency being funded. • ACE given lump sum to create Where would this money go partnerships geographically within the City? Structural inequality. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 38

• Airport tax / Hotel tax income stream Is Bristol a city of philanthropic used to fund art projects within the investment? Is there space or potential city. for find this form of funding from tech, • Could a trust fund/asset anchor the private, business, university £? community. Ideal world – artists manage the money. • Do we accept the capitalist landscape THE REVIEW IS ONLY HAPPENING IN – would a challenge be to create BRISTOL – Potential for change and a grassroots organisations. radical/experimental approach. Which city is leading in visual art sector A distinction between money to artists – and why does one’s city do better and money to institutions needs to be than another – is this a question of best made. practice within ACE funding criteria. Artists need development opportunities Landscape: and skills as well as places to exhibit and How can we support ourselves? test work. Everyone is suffering Will ACE continue? Many studios are dependent on venture Is the radical position the ownership of capital money (e.g.: BV, Cell) – this is not an asset? necessarily a transparent process. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 39

9. What should the future of the visual arts in Bristol look like?

Title of session: would create jobs in the sector and create Where’s the Kiln? Or how do artists paid work for artists to share their skills make their work? (through workshops, through fabrication) Artists need time, space and funding to Who called it? develop work without pressure of public Tom Ketteringham, Spike Island engagement that comes from GFA. There is a real importance of learning, Who was there? experiencing and failing to develop a 5-7 people. practice. Artists need access to fabrication Notes: workshops on a short and medium term basis, as well as digital and emerging Themes of Resources, Knowledge, technologies. Artists don’t always work Awareness in the same way with materials, so they Joining the dots – What facilities and need temporary access to facilities and expertise are available in Bristol already, expertise. how do we map that out and see what the gaps are. Is Make/Works Bristol still Any Actions? happening and how can that process be Spike Island has facilities already and aided? It is important that artists know wants to open those up to the wider where they can go to work with specific community, which is sympathetic to other materials making spaces in the area, so that there Identifying where the gaps are in making is a network of facilities. Spike Island’s facilities for artists. How can they be filled associates programme provides a space with affordable access? How can these with art library facilities and a computer facilities develop artist skills? suite. Many of the members are not What part do universities play in opening studio holders and often do not have a up their facilities? space to use specific tools. Why can’t Bristol be a national hub for Bristol needs a way of managing this ‘making’ as the city has a lot of expertise programme, maintaining and developing already? Bristol should be a place where the local talent. any artwork can be made. Spike Island could lead on making a Where funding for production facilities network or map of production facilities could come from – social investment, in Bristol and be a hub for making. Some funding to provide self-sustaining models investment is needed to develop existing for production of artwork. facilities to enable them to be open to What models of access can be developed the wider artistic community. Spike Island to make these facilities self-sustaining. could act as the central hub to connect There is a strong argument that this artists to facilities. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 40

Firstly, a map or network of facilities these facilities. Could a membership needs to be produced. If Make/Works in programme or similar scheme work Bristol is no longer happening, we need across the city that gives some access to develop a way of producing that. to a variety of places. How can these After that, we can identify what access models become self-sustaining after an there is to these facilities and where the initial investment? gaps are. How can we develop artist’s skills to Funding and business models can then empower them to make the work that be applied for to develop these facilities they want to without having to invest or create new ones. heavily? How can we use our pool of Different models need to be looked talent to teach and facilitate this? at in terms of how artists access BRISTOL VISUAL ARTS REVIEW • 27 March 2018 41

10. What should the future of the visual arts in Bristol look like?

Title of session: Picasso to radical contemporary art. We What Spaces Do We need to present require a range of places – not either/or changing forms of Visual Arts? but BOTH! Integrated into social spaces and society Who called it? more widely. Arts spaces should not just Philip Walker be arts spaces in future, but community hubs. An interesting model is the future Who was there? use of Filwood Community Centre, but Chris Kennedy, Clive Adams, Tessa also cited is Hamilton House, Spike Fitzjohn, Tess Jackson, Jessa Island, Knowle West Media Centre, The Fairweather, Helen Legg, Carolyn Black, Cube cinema and other communities that Claire Doherty, Natalie Levy, Victoria support other sorts of activity, not just vis Williams, Gary Sangster, and about 15 arts. others – sorry I forgot to pass the sign- Soil Project galvanised a community of in sheet around!!! Anyone else who allotment owners to connect with art. attended this session, please sign up More socially engaged arts practice is below and you’ll be added – thanks! needed, not just art in silos, but art that connects with people, places, audiences. Notes: What about the idea of an artist’s hotel at Context – art forms are changing, so we KWMC? need to adapt as well as plan for and Real spaces for mid-career artists. consider future forms of arts practice, Fluid, flexible spaces. Access to empty making, experiencing and collecting. buildings needs to continue. More art in urban Wild Spaces – Bristol Beyond the white cube space, non- is full of wild spaces – we need to precious spaces are required, suitable for reconnect people with nature. artist-led groups. Changing forms of arts practice, particular Space for Vis Arts should be dispersed growth of digital and virtual technologies across the city – not just city centre – such as Virtual Reality (VR) Supporting artists with spaces to exhibit We need real spaces for production of / show work is still important. There are new art forms – such as VR Resource empty spaces such as Create Centre, production space and thereafter VR which has a gallery that is under-utilised. cinemas / places to experience VR Presentation spaces need to be depending on what forms emerge. affordable. We need spaces that are distributed and Culture driving regeneration and an dispersed across the city. On common opportunity for developers often puts land / public space. arts practices at risk. Should we defend We need spaces to show everything from these existing spaces? IF so, how? Bristol BRISTOL VISUAL ARTS REVIEW • 27 March 2018 42

City Council has DDR – Discretionary Bristol is also a regional hub and draw for Business Rates Relief that allows arts audiences, so we need to remember that orgs to apply for reduced rates. This audiences and artists from further afield subsidy allows for orgs to stay in areas, engage with Bristol arts scene. but this is fragile and Council budgets are Provocation – Do we need specific under extreme pressure. Another option spaces for Photography / Crafts / Visual for support and securing of future spaces Arts? is through Community Asset Transfer, Again, people in the group felt that which will allow some orgs to purchase flexible spaces would be required, rather buildings at reduced rates. Short-term use than designated use. No Silos! Being of buildings is also an option, but again, smarter at using spaces collectively and it’s difficult to navigate who to approach. collaboratively. Collective shared use of Suggest contacting Bristol City Council spaces. E.g., a cluster of Vis Arts orgs/ Arts Team. The hoops that organisations groups / artist-led organisations. like Spike Island had to jump through Create Centre could be used better, will are ridiculous – Trust us. The space was be linked by Metro Bus, there’s eventually sold to a developer at huge cost (after huge effort from Spike). However, do we need to protect some Economic regeneration is inevitable, of these dedicated visual arts spaces? but we need to speak with one voice in In the culture and climate of a reduction defending culture and arts. in public funding, spaces that are being developed and sold off, do we need We need spaces for Experimentation – to work even harder to protect these e.g. Edwardian Cloakroom and Control spaces and ‘save’ them for cultural use? Room – now Bristol City Council is working with Artspace Lifespace to Provocation: Do we need both Spike provide spaces such as the Vestibules at Island and Arnolfini? YES! Both have City Hall which are new spaces to exhibit. different propositions and support artists Toilets are being sold off and developed. and audiences in different stages of their careers / journeys into art. We need a range of spaces to present and experience arts. There should not be Spaces are different to institutions. It just one focal point, but many locations is as much about the curation than the for Visual Arts in the city. space itself. Intermittent organisations/ happening lack the institutional power We must remember that we need to of what an organisation is “known for”. offer local and regional audiences the Danger of the loss of specialism within opportunity to experience great art – Visual Arts sector, museum curators without having to travel to London / out of Applied Art. But also, some strong of the city. curation retained in Fine Art in the city. Remember also that Bristol has a vibrant Should we defend existing spaces? and passionate sector and we CAN make Public spaces need protecting. things happen. We are resourceful and can collaborate, we need to do this more Public space needs to be considered, – and better. not just the existing traditional gallery BRISTOL VISUAL ARTS REVIEW • 27 March 2018 43

spaces, but also the public realm – Sustaining audiences and developing squares, harbour side, green spaces, new ones, takes time, and a location / parks and neighbourhood spaces, etc. as space with an identity has a role in this these as these can all be sites for art. audience development. “There is no cutting-edge gallery or art museum that collects.” It was pointed Any Actions? out that there is an active programme of Develop better links with commercial contemporary arts collecting in Bristol gallery sector Museum & Art Gallery that has led Embed a stronger community model as to £1m investment in contemporary described above. international collecting through Art Fund Support artists with spaces. International that has left a strong legacy Reinvent galleries – repurpose existing – including Ai Weiwei and others ones, don’t throw the baby out with the Commercial galleries to support artists bathwater. Re-use and share resources – present them. There is a lack of these and collaborate more regularly and in Bristol, however, there is a stronger effectively. Communicate! gallery sector elsewhere in the SW. Late entry comment – We still need a Representational Mother Ship! It takes a long time to grow an audience. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 44

11. What should the future of the visual arts in Bristol look like?

Title of session: the residency fees. Artist Residencies across the city – Networking/sharing – JOINED UP working from collections in different But who does this? – if an admin paid post institutions and spaces. – panel mixed breadth to commission Really good for the city? Who called it? Which develop Artists practice Lucy Austin Bristol based artists don’t show in the Who was there? city – why not? They show in London, NY Europe. What spaces in Bristol available to Lucy Austin, Martha King, Karen offer residencies. Macdonald, Hela Mroona, Clodagh Scott, Bristol Biennial – mapping artists in the Esther Mars. city? – thinking about a different model. Notes: Strange idea of ‘local’ artist = rubbish. Not always true. Maybe we need to support Ideas of possible places/ institutions their development! In Berlin that’s not Forestry Commission, National Trust, true. RWA, Arnolfini, Avonmouth, Harbour Example of artists working together – side, Filton Aerospace, We the Curious, studio book in Manchester. Pervasive Media, Watershed, The Old Vic, Tobacco Factory, Spike Island, Artist Union? UWE, University of Bristol, Centrespace, Residencies offering a breadth of practice/ Libraries, Parks, the prison, Hospital, diversity of artists and outcomes Schools, MShed, Bristol Evening Post, E.g.: from performance to painting to Swimming Pools, Old Asylum, Record digital to whatever? Office, Create Centre, SS Great Britain, Multiple residencies happening at the BBC, Radio local stations & Bristol, Seven same time. Beach railway line, First Bus, The law Length of time – one year each – but courts, Botanic Gardens, Circus School, maybe the amount of days is fixed across What do you think Artists can bring to the the year – 25 days. city? Residencies must pay the artists a fee. And why? The residency fee could be seed funded Looking out – Artists have a skill set, from the Arts Council with the host paying creative thinking/making, how can that be an equal amount or more – fundraised or transferable across areas. sponsored. Also, later talked about Crowd Places to work, places to be seen. Funding model. The idea of collaboration and partnership A platform for interaction across the city – between the artist and the residency host e.g. thinking about planning, housing etc. – offering space, maybe paying part of Commissioning a product? argue about BRISTOL VISUAL ARTS REVIEW • 27 March 2018 45

this – because that is an outcome. The maybe we do one about engaging with idea of a residency – what is that? Urban Communities. Time/ space? Time given to practice There should be NO theme to the What does a residency mean? Who is it residencies. for? There should be an artist collaborating Guardianship scheme? Is this also in with a place (collection, commercial Bristol. Works in London for empty place whatever) There should be space houses. & time – and some sort of outcome & Small case studies with different celebration. residencies – then move forward A framework of support across the DIY Arts Network run by Theatre Bristol residencies – network, peer mentoring? is co-ordinating This should not be artist as Social worker Everyone is in silos in the city and don’t – it is time for artists to develop work. talk to each other! Agreement/conversation. Crowd Funding model – but for this Should there be a co-ordinator/structure project in Bristol – so not having a panel to support this project model or invisible people choosing the artists Does it begin small and then show for the residencies. models to tempt more residency hosts Time bank model – swapping time for a into the model for the future. Is this part skill or whatever of a Bristol Festival or something? Consider that only Bristol Postcodes Find people to apply to. can apply for one of these residencies. Tough Times That happens with some residencies in But maybe this is a real opportunity to London or NY. Why are we not nurturing think differently. our talent in the city.? Idea of practical work – to help support Think about studio spaces in different dev of artist’s work in Bristol – so they environments such as schools like can stay living in Bristol. Room13 at Hareclive – but also in Hospitals, Libraries, city hall! Recent study by Gulbenkien Foundation – civic role of Arts organisations – also Also, what is an Artist – work by something from the artists point of view Welcome Trust – a Mathematician in -?? residence – the idea of exchange. Welcome Trust – Scientist Hub, study around Social Change by Artists How artists work in the city. Outreach possibilities – education, sharing. VARC – engaging in rural communities – BRISTOL VISUAL ARTS REVIEW • 27 March 2018 46

12. What should the future of the visual arts in Bristol look like?

Title of session: in central Bristol there could be some How can we create more exhibition options there. space in Bristol? Quite a lot of the discussion centred around Council owned spaces that Who called it? currently lie empty and often dilapidated. Ros Ford The problems there are that the council has no funds and little time to enable Who was there? these spaces to be used. They have so Hazel Mountford, Emma Harvey, Olly little time and resources that there is not Mead, Claire Jackson, Arthur Buxton, even a database of suitable spaces Stuart Nurse, Linda Brothwell, George The issue is about what sort of spaces Buldrick, Lisa Scantebury, Irena Czapska. were needed? In an ideal world, a dedicated, permanent, curated, free Notes: space near the centre of town that is easily accessible. However, in the real The situation was set that for many world the discussion moved to pop-ups decades Bristol has had a lack of and shared spaces. Libraries, soon to exhibition spaces for local, professional be closed or under review could be a artists. Consequently, the profile of these possibility but artists would have to offer artists. Examples raised were ideas such some sort of tangible community benefit. as the Whitechapel Art Gallery – one month of curated local artists in the It was agreed that any space could only gallery and open studios, locally. be considered if it fulfilled a set criteria in terms of footfall, and suitability. The The group looked at the options already Affordable art fair uses tents for some of available or not. The Arnolfini and Spike their venues. Island as well as other publicly funded spaces were looked at but the discussion Another idea was established galleries/ moved to other spaces. museums should have a subsidised space in their programme. The status of the spaces was important. It was realised that all options of gallery Bristol in the last year has lost the Grant space involve funding, time, upkeep Bradley gallery and the Engine shed by which in the present climate is probably Temple Meads station. not possible. Centerspace has been a space used by However, to reflect the brilliant cultural many artists but is not suitable for all. activities of Bristol artists it would be of Create is a good space but is difficult to long-term and sustainable benefit. get to and is out of the centre. The possibilities of online galleries which Plan 9 in Broadmead is apparently still could lead to pop-ups or more permanent going and as Broadmead is a dying part spaces. Questions were raised about BRISTOL VISUAL ARTS REVIEW • 27 March 2018 47

whether spaces should be funded, An idea about the new university sponsored, part funded or hired and how complex near temple Meads could they this would affect the quality of work. be approached at the planning stage? Commercial galleries were discussed Bath university sustains 2 galleries. why are there so few in Bristol? Bath sustains a number. Is it a cultural Bristol Any Actions? problem, do people go to London to Maybe to follow up the Bristol university buy art. idea. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 48

13. What should the future of the visual arts in Bristol look like?

Title of session: support individual’s careers? What other Why is it crucial for artist-led cities have any similar models to look at? organisations to continue to work SPACE in London as a model – consider independently in Bristol? how they operate and could their model of working support how we might move Who called it? forward? Rachel Cartwright, Bristol Biennial What barriers are in place to stop this from happening? It feels like artist Who was there? spaces and collectives come in waves Dawn Giles, Jack Wilson, Eva Martino, and recently we have seen the decline Jo Hellier, Sean Kerr, Laura Bottin, Ashley in these? Do we want these to grow, Peevor, Richard Fox, Orrell, Kate Foster, develop and be sustainable and maybe be Helen Grant, Amilia Deb, Claire Doherty, a part of institutions? Jane Faram Q: Bristol Biennial: why do you think as an artist-led organisation you should Notes: continue? How do you know you are Championing the benefits of artist-led relevant? There is a strong responsibility organisations in the city who support and with the name ‘Biennial’ understand the needs of emerging artists. A: talks were held earlier this year with Smaller non-venue based organisations artists, peers, partners to discuss the can dream big, genuinely support artists future of the Biennial and the response and have a place in the visual arts ecology was extremely positive and that this to grow and support work from the visual arts festival fills in the spaces ground up. where other organisations are not Many artist-led practices are based in showcasing and developing emerging different areas of the city there are more local and international artists through opportunities to tap into this and work an open call. Liz West’s Our Colour in directly with the local community and Pithay was free and brought in over 7000 organisations. How can this work infiltrate people and the opened the work up to more areas and audiences? Artist-led new audiences: 33% of the audiences practices who are not necessarily venue questioned identified themselves as based can be more mobile in their engaging little with the arts. activities across the city. Is there an opportunity for artist-led Networks of support – there is more work orgs to work collaboratively with other to be done to support each other and groups and organisations? In a previous have a collective voice that champions all session that was held we discussed our work. the DIY Arts group that currently exists but it more larger organisations taking Can we look at other successful ecologies: what would this look like to BRISTOL VISUAL ARTS REVIEW • 27 March 2018 49

part and is not just visual arts. There has are willing to champion developing been discussion to create a new group artists and emerging arts practitioners specifically around the visuals arts but to with support to grow: governance, ensure that some representatives from administration, public liability etc. to be the wider DIY group can be present and the next generation of successful arts ensure no duplication. professionals and artists. Not all arts organisations need to have a Primary in Nottingham is a good model long-term life cycle: some organisations of artist-led space that exists to support will organically dissipate. However, creative research and develop new ways this attitude perpetuates the lack of to engage audiences – have just become sustainability and lack of expectation an NPO. for organisations to step up and grow Plymouth as an example – lots of into an important role. Can they work championing of the wide variety of collaboratively with other organisations artistic practices in the city also with the and can they empower and help these use of the app – Artery. artist-led orgs / collectives to grow? Art Weekender as an example of a wider Example of Hand in Glove they have collaborative way to work and showcase recently decided to finish their practice the visual arts in Bristol. If this is not after 8 years in the city due to lack of resourced properly, co-ordinated well support, funding and sustainability. This (it takes a lot of work) then this type of should be seen as a negative for the model will not continue. visual arts ecology and that valuable Offer of space in kind to host these artistic practices need to be more widely meetings to connect everyone: Arnolfini recognised and supported to grow – could provide in-kind spaces for this to possibly by the larger organisations? happen. A space for sharing best practice, Test Space at Spike is an example of supporting learnings and experience. where artists can test their work in an There needs to be more of a spectrum established exhibition space in-kind with for artistic practice in the city. Currently invigilators – more of this is needed…. it feels like there are not many mid-level Capacity scheme – previous BCC organisations supporting artists, allowing scheme and this is how Interval formed artists to grow and connecting to the and now are based at St Nicks market larger organisations. For a vibrant arts on a reduced rent – without this their ecology, we need many voices, different existence would be difficult. Is there a practices and spaces to work and way of bringing these types of schemes showcase in. True collaboration seems back? Maybe with developers rather than to be key in this process. We should council?! connect and link organisations here and link arts and local community work It is worth mapping out what is the already being done. current value of the work that you do? Substantiate these conversations, give Professional support and possibilities it validation to put your case forward for of mentoring schemes? People sat on future support and ensure your work is boards / trustees / professionals who BRISTOL VISUAL ARTS REVIEW • 27 March 2018 50

aligned with what you want to achieve. partnered with Mayk for Sanctum Advocacy: for ourselves and for others and brought together many arts and to this should be championed on a professionals, practitioners and volunteer regional and national level exchanges. Music and art – are there many places Glasgow as a model with a flexible artist that are collaborating in music venues practice? Expertise can be across the / DIY spaces? There could be an city and from this thing can mobilise and opportunity here to create more vibrancy. happen. Education and professional development Any Actions? is important. Also, development for the Event on 18th Jan at Brunswick Club freelance staff / volunteers at festivals? 8pm – all attendees of this review will For example, volunteer networks be emailed – with an aim of an artist- from arts organisations – a sharing led discussion and to look at how and opportunity making for future arts collaboratively work could make us professionals. For example, Situations stronger. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 51

14. What should the future of the visual arts in Bristol look like?

Title of session: Sarah from Bristol Old Vic outlined the What are the challenges for artists who support they are giving to Mothers are parents and carers? Who Make, a movement that began in London and rolled out to the regions. Who called it? 70 people attended the first session but following that only 3-4 people come Vic each week. BOV offer space and the Who was there? sessions are facilitated by the people within the network. They are currently Sarah, Andrew, Rosalie looking at ways to improve this. Rolling it out beyond the theatre sector to other Notes: sectors (inc visual arts) was discussed. Vic (Watershed) convened the session The conversation then moved on to in collaboration with Rosalie from We focus on potential residency programme The Curious, as we are interested in how models, and what kind of support could/ we can better support artists who are should be offered to give time, support, parents and carers to practice – it seems resource and most importantly flexibility this is an area which is often overlooked. to participating artists. The aim of the session was to explore Any Actions? Watershed and We The the issues artists face in juggling caring Curious will continue to look at ways in responsibilities with practice, and what which we can support artists who are could be done in Bristol to better support parents and carers. We will also continue them. conversation with Bristol Old Vic to share knowledge and ideas. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 52

15. What should the future of the visual arts in Bristol look like?

Title of session: resolution 5 day residential in Cornwall Beyond city Centres –Bram Arnold – kestle Barton – place exploration, interventions based on Who called it? common issues) Martha King – KWMC Problem of instrumentalisation of socially engaged artist’s role – need to be more Who was there? support for the artists’ well-being, what Rebecca, Deborah, Caroline, Rosalie supervision / care is in place when working in potentially traumatic contexts Notes: – level of pay vs professionalism can socially engaged art do more harm than Benefits of working outside city centres? good? Often perceived artist has a ‘halo’, if taking groups out think about will save / solve the problem. resourcing of transport. Benefits to Can learn more about practices by groups to visit new spaces working across disciplines: with a social / different contexts – developing worker / therapist etc. confidence What is the role of city centre Links and exchanges – twinning organisations – a traditional arts space to neighbourhoods. Similar ones and visits as a visitor attraction, family day- different. out – are these spaces important? – can How to allow for hard conversations – to they act as public spaces citizens right to facilitate this well, don’t censor. be able to freely enter cultural city centre The role of the host / guest –how to be spaces open to change – who invites you in? What is the ‘role’ or ‘responsibility’ Diversifying what diversity means – class: of these spaces? – how to avoid the divisions caused post-Brexit. Rural / urban ‘colonial’ come to us we will improve you Edge suburbs can feel very isolated – feeling or the we will go to you and make ghetto-ised nature of Bristol city: class it better / demographics. Social engineering of How to make cultural orgs feel more like architecture – city planning. – need to be public spaces – what is the invitation, aware of community dynamics what are you coming in to do? Make Experienced artists’ having worked in something / take-over? Which door do these contexts: how to create a space you want to come in? are these spaces for sharing this knowledge / expertise intimidating? – a desire from younger artists to work We the Curious are currently redesigning in these contexts more, but looking for ground floor as a free space – what could support – training. this be? How to make this an accessible (7 estuary project: ‘forgotten landscapes’ space? For who? – what is it that people – Davies & Jones, training in conflict need? That the org needs? A suggestion BRISTOL VISUAL ARTS REVIEW • 27 March 2018 53

that instead longer term relationships Any Actions? are formed – don’t ask the Q head on, More resource to share expertise / create ‘hang-out’ spaces for all ages and learning / training for artists who haven’t get to know people. – what is a genuine worked in socially engaged contexts, but exchange want to: there is a strong desire How to really know each other across the More work needs to be done with whole city outlying communities and city centre What creates ownership of space? How spaces on how city centre spaces are to translate the status / respect / role perceived / what are the barriers to people may have in their community to visiting them – what is the invitation? other spaces. A working group on: How we genuinely know each other across the city – what public spaces could mean – what role for artists. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 54

16. What should the future of the visual arts in Bristol look like?

Title of session: Spike Island used to have a program How do we ensure access and inclusion to help write applications and share of young artists? recourses. This resulted in an influx of great applications that over whelmed Who called it? the arts council and so a pot of money was given to spike to manage. So, it George Baldwin does work! Who was there? The funding needs to be for process and George Baldwin, Arthur Buxton, Kirsten development. Risky small projects that Cree, Vohn O’Conner, Naney J Clemance, don’t have a fixed outcome but can be Kamina Walton. fruitful in creating new and valuable ideas / art work. Notes: Debate about the structure of funding weather it would be better for a larger What is a young person? body to overlook young people funding. How do we include all young people not Or to structure it through the larger just those in the arts already? organisations. Arnolfini as an example had an open An argument was made that young call for young artists to put on a group people especially BAME community don’t exhibition. Was only broadcast on their want a space that is ready and established website. with a solid structure. Allowing them to This could be done by diversifying curate the space and context the work outreach. is shown. And there for an independent Welcoming structure needs to be in place funding body may be more desirable. within larger organisations. On the other hand, organisations, can Rife was a great example of supporting give vital connections to practicing artist young people. But has had the funding that can pass on knowledge. Knowledge cut. Arnolfini Young people’s program is that is not being taught in secondary or being saved from funding by UWE. university education. Strong feeling that education in general is not cutting it Funding when it comes to entrepreneurial skills Funding is just inaccessible to young in the arts. people but a vital step in getting them Concern has been raised about the cliff established. The structure of funding edge that appears after programs for needs to be looked at so it is accessible young people ends. Maybe a solution is to young people that don’t know the creating a bigger ‘parashot’ with more ‘application speak’. Also, time is an issue mentoring programs and help with without infrastructure around. application writing that is vital for a continued arts practice. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 55

We the Curious are currently redesigning gallery structures we currently have. A ground floor as a free space – what could committee lead organisation like catalyst this be? How to make this an accessible is lacking in Bristol. space? For who? – what is it that people Other models discussed: 50% of young artists supported by Rising Guarantee model where organisations agency have experienced problems with get insurance from the arts council if mental health. This is a worry into were event is unsuccessful. This would allow funding is being directed. If the resources organisations to take more risk. were there for young people to have Opening more space for exhibitions in an outlet we would not need so much Bristol could be achieved by developing a funding going towards mental health. Art relationship with estate agents to exhibit has been proven to help well being short term in spaces that are waiting to What would young artists do with the be let/ sold. Spike island used to have money that has become available? this relationship. The general answer was to set up an There is a gap between small art space lead by young artists. Catalyst commercial galleries and galleries like arts in Belfast is run by rolling directors Arnolfini where there isn’t a medium over two years. These are volunteers accessible to exhibit space. and often just out of art education or Brinsirth and spaces like the diving space beginning their art career. A space run (now closed) would be great. with this model/ something like it is lacking in Bristol. IT would mean young Any Actions? artists could call up their heroes and George & Kamina to meet and discuss organise and exhibition. It would hand further about a potential model for a over responsibility and enable participants young artist lead space/ gallery in Bristol. to gain knowledge inaccessible in a BRISTOL VISUAL ARTS REVIEW • 27 March 2018 56

17. What should the future of the visual arts in Bristol look like?

Title of session: Notes: Let’s Draw an Art Map of Bristol 2030 We drew 2 Maps (see photos) Who called it? 1. The great family art map for a Saturday in 2037 Peter Heslip How to make Bristol more family Who was there? friendly experience? Rob, Helen, Helen, Sarah, Lara, Paula Improve the City Welcome experience at the station Identify key landmark destinations A series of youth Art Hubs around the city (like Music Hubs) Public realm improvements with public art Spike Island handed over to artist deregulation zone Use of water way, with Beach Close the motorway and replace with urban agriculture. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 57

2. A Friday night Nuit Blanc in 2030 Offices no longer used for workers – converted to live work space for artists Churches converted to art spaces Key museums and galleries bigger and better Link to Weston super mare where many artists are now living and working. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 58

18. What should the future of the visual arts in Bristol look like?

Title of session: • To get more diverse people involved How can the future look more culturally in the visual arts as audiences and diverse? workers takes a lot of different approaches over a sustained period of Who called it? time. There needs to be: Ruth Hecht • More diverse leadership • More diverse programming Who was there? • More diverse boards and staff About 12 people teams • More connections between those Notes: people who ARE working in diverse • Given the number of BAME / disabled communities / who ARE diverse artists in the city, why aren’t they and the people in the large arts more visible here? A shame that there organisations… they need each doesn’t appear to be representation other!! from organisations such as Asian Arts • Arts organisations shouldn’t be doing Agency, Ujima (just as examples). stuff around diversity as an ‘extra’ but Where more diverse people aware of as integrated the day? Is it at a time which isn’t good • The fantastic work taking place in for them (e.g. because they work full the city with diverse communities time)? Is it because it’s the visual arts? isn’t impacting on arts organisations. • Are the people co-ordinating the Money needs to be made available for review actively seeking the views of that. There need to be mechanisms to people with more diverse voices? If exchange expertise. People working not, they should be! For example, are on the ground really understand the they going outside the city centre? issues – they’ve learnt through doing. Talking to audiences not just people Organisations need to actively reach working in the sector? Talking to young out. people? • It’s everyone’s responsibility to ensure • There is a systemic problem that many the visual arts sector is more diverse… artists can only afford to do their work what are YOU doing? because they have other financial • There have been various ACE support / were able to be supported initiatives over the years to improve through college… so immediately it leadership… but nothing seems to reduces the number of people from have changed. Why is this? What is poorer backgrounds involved in the the answer?! arts… this then has a knock-on effect • The Somali community is the biggest throughout the sector BAME community in the city… BRISTOL VISUAL ARTS REVIEW • 27 March 2018 59

how are they connecting to the arts • Institutions need to be much more organisations? up front about how they spend their • Can the arts sector work more with money, and where the opportunities faith communities? are for diverse artists to tap into that • It’s important that BAME / LGBT / Deaf funding. Budgets need to be more and Disabled artists aren’t siloed… transparent. they need to be able to do whatever • Leaders need to be committed to they want, to be whatever they diversity – if they aren’t then it doesn’t want… by constantly focussing on the happen differences, it puts people into boxes... • Organisations need to have • The power base of people who run arts advisory groups of people from organisations puts diverse work into different communities (geographic / boxes – ‘Queer Art’ ‘Black Art’ – need communities of interest) to break away from those paradigms. • It’s easy to label people and assume • Disabled people are invisible… events things… e.g. you can be an artist and such as this aren’t accessible, for live in a council house… the two aren’t example to People with Learning mutually exclusive Disabilities… Disabled people have • Have the consultants spoken to young additional barriers to do with accessible people? No. transport, changes to benefits etc. • Have the consultants had a list of arts • Although the Open Space mantra is organisations in the city to speak to? that ‘whoever is here are the right No. people to be here’, in the context of getting more diverse people to be part Any Actions? of the conversation a more pro-active The people making decisions about how effort has to be made to get people money is spent as part of this review into the conversation. need to ensure they are pro-actively talking to more diverse people, as their voices haven’t really been heard in this forum. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 60

19. What should the future of the visual arts in Bristol look like?

Title of session: • Street Artists make a significant, high How important is Street Art to Bristol’s impact contribution to Bristol’s cultural cultural future offering. • Many street artists act solo so have Who called it? never had access to support if indeed Steve Hayles (Upfest festival director) they actually need it. • Bristol Street Art has a history which Who was there? other cities now copying Bristol’s lead, Nobody don’t. • Street Art has a limited voice in Notes: Bristol’s cultural landscape mainly due Was this the right question? If it had to capacity of the 2 or 3 organisations been titled ‘How important is Public Art championing Street Art. to Bristol cultural future’ would this have • £10’s Millions is generated for Bristol drawn more people to the discussion. economy through Street Art tourism There is no doubt and much support from yet there is no mechanism for this Bristol’s community about the importance benefit to filter down to artists. that Street Art is playing in Bristol’s • Street Art has high impact for relatively cultural identity. low costs. • Street Art is a place not a genre. • Street Art generates conversations in • More and more artists of all genres are our community. now using the street to engage the • Street Art is free for the viewer public with their artwork / views. • Why has there only been limited • Street art removes barriers to investment in Bristol Street Art when engagement Bristol is recognised for it on the • Responses to street art can be difficult international stage, just think what to gage / capture due to the nature of could be achieved! its geographical spread. • Very nature of Street Art could conflict with investment / support unless handled correctly. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 61

20. What should the future of the visual arts in Bristol look like?

Title of session: does arts intervention connect with and How does Bristol’s visuals arts involve & support the long-term development of give power to different communities? the community. What is the legacy of any project or programme? Who called it? EG: We Can Make by KWMC as a Melissa Mean good example of artists working cross- disciplinary way with residents, other Who was there? professions to address big need in local Sorry forgot to take names. area about affordable housing. Genuinely radical. Notes: EG: Artist Hotel Knowle West as good example of artists and residents working How are artist enabled and supported to together to develop new models of work collaboratively with communities? regeneration. And how are communities enabled and supported to work with artists? Important how visual arts operates as part of the city’s commons- the common At the moment, Bristol’s visual arts set of infrastructure, resources, tools that poorly resources both of these. There is everyone should have the right & power a need to better resource communities to access and the right & power to shape. and artists with the skills and capacity to At the moment access to and power to engage. shape city very unequal. For example: Bristol Biennale has an There is a potentially powerful role for ethic about being non-city centre and visual arts to make this more equal. Visual working with communities, but found arts have some potentially powerful it really hard to find & connect with qualities to help do this, including: communities. Exception was Knowle West and working with Knowle West • capacity to invite people in; Media Centre. Enabled them to engage • make the commons more visible community in a meaningful way. • provide tools to give people voice and Key challenge about how to build tell stories capacity at the local level. Not about • material to share widely and invite city centre organisations doing outreach more people in activities, it’s about growing the arts • build collaborative capacity as different ecology at the hyper-local level, growing people come together to make capacity across the city beyond the city together across different mediums centre. and disciplines. Engagement need to be about collaboration and making together- not a tick box consultation exercise- e.g.: how BRISTOL VISUAL ARTS REVIEW • 27 March 2018 62

What type of different communities? art working in/with/by communities. And • Diversity lens must include white is just as valuable (more) than “proper” working class communities- too art. often neglected in discussions about diversity Every individual and every community has the right to creative agency. Bristol’s visual • Diversity must include different age arts should be playing a role in making profiles- e.g.: middle age white male this actually happen and happen at scale. working class and middle class often Esp. given failure of education to address overlooked. Creative responses with and build creativity in the classroom. this age group will become more What happens outside class rooms in real important as group most likely to be everyday spaces and lives more and more hit by economic/labour market fall-out important. from automisation (rise of the robot!) Any Actions? Skills sets for working with communities: 1. More resources, e.g. skills, fund Artists need different kind of skill set for building capacity of artists and to work meaningfully and socially communities to work together. This engaged way in communities. Need to is not about “outreach” activities run be artists, entrepreneurs, social workers, by city centre arts institutions, but event organiser etc. etc. etc. skills not building the capacity to collaborate at recognised, valued or properly supported. community level. 2. Make explicit recognition in ACE Circuit Programme by TATE + UK galleries criteria that diversity includes class & good example of sustained work with age. young people. Transformative. Key issue it addressed was power and young people. 3. More resources for artists to work collaboratively and embedded Need to value the art in this practice. It’s in a sustained way in and with not just social work. It is about power. communities. There needs to be greater recognition by 4. Make transparent geographic ACE and Bristol visual arts that power = distribution of ACE funding across Bristol. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 63

21. What should the future of the visual arts in Bristol look like?

Title of session: • Infrastructure: support visual arts How do we ensure Bristol becomes a through pop-up spaces / meanwhile beacon for the visual arts in the region, leases, reduced business rates, etc... nationally + internally? • Creative distributed region – village, market town, city + in-between! Who called it? • Artists need to be retained – they Anita Taylor make places + then are moved on... why? Value them!(needs policy + Who was there? advocacy) Greg Harris, Anne Hitchcock (not sure • How do we create sustainable lives who else...!) (living) for artists? With the necessary for inspirational, professional, Notes: developing, liveable city • How big is Bristol? • Anything is possible (but conditions • A beacon for the region + beyond... matter) • Distributed region • Collaboration VS Competition = • How to get media attention... to Community? Bristol • Sustainability • Shared promotion ¦ West of England • A vehicle to showcase visual arts region visual arts excellence! • A vision for the visual arts in Bristol • Constellations of activities (+beyond!) would enable creativity • Ecologies • We need visual art champions across • Breadth of programme? sector + city / places + experience • Diversity + inclusion (programme, • Ensure immense benefits of people, kinds of ‘actors’ in the visual engagement with artists + arts are arts) clearly understood + supported for a • Key venues needed (major city for sustainable society visual arts) ¦ “International city” • Regaining international reputation + reach (impact) • Gap from emerging artist – high brow • Peer mentoring schemes (from major hubs / galleries + museums + artists’ networks (associate schemes) etc.) • Role of Visual Arts South West? • Major visual arts event (prize / biennale??) BRISTOL VISUAL ARTS REVIEW • 27 March 2018 64

22. What should the future of the visual arts in Bristol look like?

Title of session: • Definition of emerging artist doesn’t How can Arts Council England (ACE) mean ‘young’ nor ‘University educated’ support emerging artists transition to full- (etc.) –they can be mature, etc. time artists? • Artists sometimes reduce their living costs so that they can afford to invest Who called it? in their artistic pursuit Greg Harris • Small art buying market in Bristol • Lack of independent galleries in Bristol Who was there? • Can ACE support an exhibiting space Sarah Crown, Richard Fox (a.k.a. Foxy), without taking 40% commission of Lara Luna Bartley, Martha King, Olly sales? Mead, Deshni Pyndiah, Andrew Proctor, • A feeling that ACE is so far removed Tyrone Probert, Tom Ketteringham (Spike from emerging artists Island), Rachel Cartwright and James • Access to Arts Council ___? More info. Lingwood (others joined later but names weren’t captured) • Public engagement issue for GFA bids – what to do? Notes: • RIFE guide example raising awareness • How do we do ‘more with less’ but / communication not more of the same / what doesn’t • Where do artists go to for advice + work? support? • With a limited budget, at what expense • Lack of business advice – database will funding emerging artists mean of sources of info. (i.e. tax returns, elsewhere? profession specific advice e.g. painter, • Atelier-style internship programmes sculptor, performing artist, etc., with professional artists marketing, social media, finance, approaching galleries, art fairs, etc.) • Does Bristol City Council have spaces that artists can use? • Network opportunities bringing people together – i.e. ACE funded • Individuals with salaried jobs trying monthly meetings for particular artistic to make it as artists, lack time to do professions, e.g. painters – isolation everything /deliver a thriving arts and loneliness is a common feeling for sector: need an (ACE) representative artists on the ground • Issues of the cost of doing things, e.g. • Journey of an artist: education, consultants, etc., and knowing what’s internship and / or emerging, good is and isn’t a good investment for established your business • Artists need to be representative of BRISTOL VISUAL ARTS REVIEW • 27 March 2018 65

marginalised communities: how do we annual art prize to attract attention to reach + support them? the city (likely many sponsors can be • Definition of ‘emerging artists’ not just found within the city) ACE related • Business support that understands the • Creative network enterprise arts for arts activity • Collaboration partnership – linking ACE • Not all art is a commodity ¦ Showcase schemes strategically opportunities needed ¦ Demonstrate • Lack of facilities post universities for what art can be specialist skills, e.g. casting, glass • Hamilton House example of negative work, etc. redevelopment • Tax relief issue – tax credits possible? • Culture of selling + buying missing? Universal income? (US example) Promotion required. • Create new spaces for artists to use – Audiences? lack of space? Viable, sustainable? • ‘ Missing link’ in visual arts ¦ Profile • Libraries a solution? Empty building raising in city – ecology incomplete stock – Bristol City Council role? • Can ACE have a space where – instead • Diversifying artist pool – obstacles to of the artist paying – ACE pays the being an artist artist (e.g. £1000) for a month-long exhibition, with a preference (not a • More space for artists to exhibit + sell requirement) for local artists? (e.g. city hall?) • How can Bristol Airport be engaged to • Council website – arts section? support the arts in the region given the • More mid-scale / level organisations – tourism the arts support? (e.g. Upfest) spaces disappearing • Can a dialogue be started between the • Moving artists into unwanted buildings art sector and the tourism sector? + places temporarily – reduce business • Spike Island have an Associates rates Programme that supports artists (N.B. • Economic pressures ¦ Property inflation monthly fee of £12) ¦ Regeneration ¦ Rent increase (i.e. • Funding must be inclusive in total – ‘donut effect’ pushing artists further reaching marginalised communities and further from the city centre – just and not excluding non-marginalised like in London) communities. • Bristol International profile? Run an BRISTOL VISUAL ARTS REVIEW • 27 March 2018 66

23. What should the future of the visual arts in Bristol look like?

Title of session: 2. Detail of outstanding needs: Artist-led Spaces and Hubs discussion • Locating opportunities notes Session 2 • Getting rate relief/achieving Charitable status Who was there? • How to create and articulate a Valma Studio, Artspace Loves, Jamaica strategy and vision for artist-led Street Studios, Fieldworks/Fieldnotes, spaces Interval, Brunswick, Beef , Champ, Spike • Arrange an ACE/ BCC and Artist-led Island, Hamilton House. organisation meeting for further discussion Key Issues: • Knowledge bases date rapidly, so Affordability, Showcasing, Sustainability, we need to form a ‘living archive’ Resource sharing, Networking of shared experiences Strategies discussed: 3. Agreed Actions: 1. Setting up an open network of • Set a date for first network “artist-led spaces group” in the meeting: 18th January at 8.00pm Bristol region to share resources at Brunswick and knowledge such as: • Set up a Social Media Presence on • Access to legal services; Facebook and Twitter • Resource review on affordable • Ask for ACE feedback and date of spaces and council-owned co-meeting properties (DIY Arts working group); • Ask Visual Arts SW to help establish the group • Combining for lobbying power; • Build on the model given by • Using Social Media effectively; Theatre Bristol • Showcasing artwork • Establish a recognised hub for • Creating physical meeting venues meetings and identify a regular and social space (Associates Room social space for informal exchanges Spike Island, Performance Space Hamilton House, Brunswick etc.) • Holding regular face-to-face meetings of representatives; • Creating an online archive of successful case studies and necessary resources BRISTOL VISUAL ARTS REVIEW • 27 March 2018 67

24. What should the future of the visual arts in Bristol look like?

Title of session: • The city is not capturing people’s Elephants in the Room interest in contemporary art – we need to diversify what is shown Who called it? • We need to support the people who Tessa do and produce projects – e.g. cultural use of empty shops; there could be Who was there? support for small projects c.12 people • We not talking about the fact that there are key people that others don’t Notes: want to work with Elephants were identified as: • Organisations are big and unapproachable – need an ambassador • The long history of ACE and Bristol people can go to bring others together, City Council not having a joined up support people working together, and productive discussion as to the support people wanting to do projects priorities for support and development in Bristol. This is not just about • There should have been a better funding outline of the Review before the session today • This history means there is a failure to tap into talent • ACE is not jointing the dots – why hasn’t it galvanised the energy of the • Value placed on artists in Bristol, city artists wide, is low • Who speaks for the artists? Do they • The city has a lot of visitors but what want anyone speaking for them? are they being directed to? There are narratives that are ignored, this is • Arts and culture in the city is not shifting slowly. reflecting the bigger issues we face – climate change, Brexit, strife etc. • Bristol is a global city and is part of a global narrative of struggle but • There is a lack of diversity in education we don’t see its multiculturalism in and lack of support for arts education; the room today or in the arts and under privileged environments are not culture that is supported; visibility is reflected; lack of art in schools important • City fathers have too strong a hold on • ACE & BCC need to be more the city and don’t use their positions responsive on a commissioning basis to think about affordability for artists – artists make place attractive and are • Cost of space & housing – artists are then forced out moving elsewhere BRISTOL VISUAL ARTS REVIEW • 27 March 2018 68

25. What should the future of the visual arts in Bristol look like?

Title of session: Leeds going for 2023 ‘Capital of Culture’ How can we collectively promote Bristol Why didn’t Bristol go for it? Wkg group arts to the world? decided not. Bristol not considered a tourist venue for Who called it? artists. Jerry Cowhig (RWA chair) Need to know ourselves first Jupiter space, 3:30-4:30 Street art gives a problem to fine art??? Partner with other cities? Notes: Need consortium of galleries In the past, joint promotions by the main Look long term galleries were successful. We need to do Gateshead had NE arts website the same again to promote art weekends How get London critics? If one comes etc. then he/she will come again. Tom Spencer reminded us about “Bristol Organize tours for them Bath cultural destinations” jointly funded Yorkshire sculpture park did this in by ACE and Visit England. Destination partnership with Henry Moore gallery, Bristol is a partner. Leeds art gallery and the Hepworth: Martin Pople runs the project coach tour for all and hotel. Phase 1 was Bristol and Bath St Ives did similar with busload of critics. Phase 2 Now N Somerset and S We must be coordinate art event. Include Gloucestershire local authority too. Example Must involve Destination Bristol Daytime visitor is worth £35 to the city. Film office got location managers here. One to airport worth £360 – if they Are the visual arts cherished? are visitor not Bristol person returning Marvin Rees, mayor, now has culture as from holiday. But too few of those big direct report, no cabinet member below spenders. him. Is this good or not? How can we make airport bigger Marvin did a podcast with Arnolfini. He importer? would like to know more stories. We need a region wide clash diary. Global mayors coming here next year. We Art needs more exposure must help him show Bristol. Lobby him. Godfrey Worsdale (? Spelling) said be aware of other cities wanting to be known internationally. We are competing with them for ACE money and for visitors. E.g. Manchester Leeds Newcastle London all do it. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 69

26. What should the future of the visual arts in Bristol look like?

Title of session: Jamaican Pulse really well received and How can we make best use of one of talked about across the city. the UK’s best exhibiting spaces – RWA Allowing others to curate – including Bristol? artists – an important part of what we do, but this needs to be more widely known Who called it? about. Alison Bevan Need to open up who feels like it’s THEIR space – make more accessible Who was there? There has been a perception that it only Various people (including artists, curators shows one type of art – need to shift that and James Lingwood), none connected perception with the RWA BIG shows with BIG names to attract major audiences Notes: Mixed programme really important, Main issue is marketing – people don’t combining quality and inclusion understand what we do Get funding to allow free admission at Entrance fee is a barrier least sometimes Location, too – need to get community Target particular groups/communities and transport to bring groups to the building give free admission Building itself is uplifting – a secular Can be frightening going to a gallery for cathedral – and groups such as St first time: staff need to be trained to Mungo’s would benefit from visiting, but ensure they know about how to deal with can’t get there. issues such as drug withdrawal, child- It’s valued by artists as a selling venue – friendly etc., make people comfortable annual open provides an opportunity to Restate case for NPO bid – the right get work in front of buyers things were in it (AB had described what Could do more to get artists and Patrons/ we’d outlined) “ridiculous we’re not an buyers to meet up – have events to bring NPO” (not my words!!!!) together. Need to engage contemporary arts Perception of it being for members audience only – barrier of elitist associations. The Royal bit important to keep? Drop association with Royal and Academicians? We’ve got a big following with artists – increasing submissions – but other shows Poor pay also a barrier for staff being more attractive to others in the group truly representative of all Bristol’s communities (e.g. FOH staff on just Drawn great example of historic context – above minimum wage) – need to address amazing for artists to show alongside the this. Royal Collection works BRISTOL VISUAL ARTS REVIEW • 27 March 2018 70

Cost an issue, though London even more RWA’s a really important resource, but – e.g. Tate c.£18 a show. people don’t know about it, Why didn’t we get NPO (question from Jamaican Pulse shifted people’s participant)? – AB: feedback very positive: perception just didn’t! City has grown in terms of arts Great for artists to have their work seen venues Bristol factor comes into play. by lots of people. Rare for a Bristol gallery to have GIS We should do more peer mentoring, as status and be able to show important we have access to RAs etc., not just for historic works – greatly valued in the city emerging artists but also mid-career. Cross-over of audiences this brings also important. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 71

27. What should the future of the visual arts in Bristol look like?

Title of session: Should we work towards a goal such as a Opportunities for the museum to work festival/biennial/anniversary project? How with the contemporary art scene to run it? A freelancer, not connected to any participating organisations? Can Who called it? that be funded with money from the metro mayor budget? Should Bristol Julia Carver (Curator, Modern and and Bath work together? How to ensure Contemporary Art, Bristol Museum & Art buy-in from leaders? What I have taken Gallery) from this is I’d like to set up a regular Who was there? meeting with people in the organisations I work with in the city. People were Annabel Othere, Kate Newnham, also interested in how the museum Stewart Geddes, James Lingwood, an programmes and is it transparent – it is, I artist whose surname is Martin, Tessa tried to explain that process. It also was Fitzjohn, Chris Stephens, someone who unclear what each organisation in the city works in theatre in Bath, someone who covers – but this is evolving continually. runs Desire Lines in Edinburgh, dance practitioner, two artists, someone who’d Any Actions? worked with the Natural History Museum See if I can start up a group myself; but in the 90s ensure responsibility for running it shifts Notes: between members. The discussion began with how to develop commissions together with other organisations in Bristol, and beyond, at the point of thinking about what to commission, not just as an afterthought; about thinking laterally and spreading resource, while widening access and ensuring there is a long- term legacy for art practice, but quickly focused on Bristol organisations working together. We have been doing this for discreet projects, British Art Show (2005!) or the Art Weekender (2015) but the impetus fizzles out at the end. How to remedy this? Is it as simple as quarterly meetings? How to avoid a talking shop? (Especially when involving artists not paid for their time, for e.g.) BRISTOL VISUAL ARTS REVIEW • 27 March 2018 72

28. What should the future of the visual arts in Bristol look like?

Title of session: Artes Mundes was felt to be a better Does Bristol need an international arts model, as an award given to an festival? international artist, selected by nomination and short listed by a panel of international Who called it? of arts professionals offering a significant prize and creating an exhibition of the Tessa J Fitzjohn nominated artists across the main Who was there? venues in Cardiff. The event includes a conference, profiling each of the short- 4 people listed artists. It was felt that an event of this stature would attract sponsorship Notes: from a Bristol based business, and The group recognised that it would be deliver the objectives identified as useful useful to have some kind of international outcomes from a major international arts celebratory event that changed festival but without the need for so much perceptions of the City; brought Bristol money or work. arts organisations together, creating a focal point for visitors to the city. Any Actions? We discussed examples of events that No actions required brought about similar benefits as a major festival without the large investment and work required for a major event. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 73

29. What should the future of the visual arts in Bristol look like?

Title of session: environment not using art in a more pro- Can we have a designated space for active way? However, a small few people environmental art? were on the same page as me and we discussed the CREATE CENTRE Notes: http://www.createbristol.org The session 4 time brought an It does not afford to have a curator opportunity to raise the flag for and what gallery space it does have environmental art to be given its voice is very much underused. I wish that a within an ever-growing consciousness representative could have been at the of the crisis our planet is in. I am an meeting but I guess they feel they are artist member of a new collective not really set up for working with visual VULGAR EARTH, we are mixed media art? They seem to have slipped under the visual artists now expanding the need radar of artist’s possibilities, no one in our of artists joining forces to encourage group had heard of it. I first discovered a re-connect with nature. Our first it when SOIL CULTURE, linked with large scale exhibition launched us as a CCANW (centre for contemporary art collective alongside promoting a newly in the natural world), of which I am a established gallery in rural Herefordshire; member to both, showcased their artists Canwood Art Gallery, Checkley. With in residence programmes from 2014 UN over 3500 visitors taking a trip down International Year of Soil. The exhibition in a network on country lanes, they 2015 was part of establishing Bristol being found and were extremely grateful for the Green Capital of Europe. Here, this voicing many aspects of man & nature was no resolve or support for my desire relationship: from political to social, to create a space especially for this broad, mental health & wellbeing, personal encompassing topic. & historic connectedness. We have a The most important result from posing the new exhibition booked for next spring question was to be amongst curators who at Theatr Brychienog and are looking to took it on board that it’s the right time to bring a show to Bristol. This is where my support environmental artists. Let us live question is founded. in hope for future endeavours. I found it interesting that no one Thank you for creating the space to throughout the day even mentioned the incorporate the many issues we are faced growing concerns pertaining to nurturing with. Regards, our relationship with the natural world. Talk based on people-centric diversity covers looking at our needs yet as a city, I feel it even more essential to support environmental concerns, or to face up to the lack of them. Why is an urban BRISTOL VISUAL ARTS REVIEW • 27 March 2018 74

30. What should the future of the visual arts in Bristol look like?

Title of session: How can we connect Bristol artists and How do we diversify curatorial practice audiences with international artists visiting and arts programming in Bristol? the city/make the most of international guests? (networking, sharing knowledge, Notes: experience) Democratization of curatorial practice – The important point that talking about can institutions be more open to inviting diversity in a non-diverse group is an others in to programme – can we share echo chamber – and will result in the institutional space to create more visibility same answers!! for grassroots, community led, artist-led Diversity of audiences: do arts audiences activity? represent Bristol society? Importance of venues/institutions/ Role of local council in promoting those in control of public platforms diversity of audiences – what is this? RELINQUISHING control and inviting Are venues accessible? Not just in terms people with lived experience to of physical access, but opening hours, programme cultural barriers (e.g. consumption of “asking the right questions, of the right alcohol) people, to get the right answers” How can we make more opportunities The importance of creating platforms and for independent programmers/producers opportunities for artists and programmers in the city and invite talent/voices/ from underrepresented groups and expertise in from other places? backgrounds: Importance of bringing international “nothing for us, without us, by us” artists to the city. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 75

31. What should the future of the visual arts in Bristol look like?

Title of session: model where they have developed What do the public need, changed to relationships with their constituencies What do the Public Want? in Middlesbrough and beyond. Their ambition is that the public help them Who was there? shape who they are: a public site, open and accessible, diverse and Helen Davies inclusive, and used by all. They see Alexis Butt themselves as a ‘useful’ museum Rowan that is moving forward with a civic George agenda, to reconnect art with its social Esther Mars function and promote art as a tool for Matthew Partington changing the world around us. Paula Orrell • The challenge of making accessible Notes: exhibitions, striking a balance in programming. Galleries want their First principles of breaking down the audiences to come back, so could barriers in art galleries: approaches to curation change – “Enjoy yourself”, Jeremey Rees, the considering who it is for – is it possible Founder of Arnolfini to start from that position, and stop • The conversation began with curating for peers. considering why the public feel • Don’t make too many assumptions alienated by art galleries and what about what the audience think, think easy principles could be considered about who it is for. to make people feel more welcome. • Take away the walls and free it. Front of house that is warm and welcoming, and find new ways to • Resources need to follow – non- encourage curiosity and decoding of tokenistic approaches. the visual arts. • Arnolfini has a challenge and an • Giving ownership was another key opportunity to celebrate culture and principle. Asking the public to be a diversity of Bristol. participant, not a critic. • Expand what we mean by the visual • Fundamental was the role of arts that covers and encompasses exhibition making and the relevance all forms including design, craft and of 21st Century society that could be architecture. more democratic in their thinking of • The group were genuinely surprised how to transform the institution at the that not more people were involved heart of society – understand their with this discussion, and only one relevance and value. session of the day addressed our role • Mima was cited as an exemplary in relation to the general public. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 76

32. What should the future of the visual arts in Bristol look like?

Title of session: children/families; venues feeling/ Two sessions merged: looking too middle class/white; All children are to some extent not able Children from disconnected and to access the arts and culture in their city disadvantaged areas (like Hartcliffe) – because of barriers such as transport, how to better include them as artists and and child-unfriendly places that say adults audience? called by Shani Ali and Ingrid must be with children etc. However, we Skeels, Room 13 must acknowledge that children from some areas (such as Hartcliffe) are almost How can publicly funded visual arts in excluded entirely. Bristol positively impact on ALL children City institutions need to take shared and young people in the city? called by responsibility for the full cost of inclusion. Amy Harrison, Architecture Centre The barriers are complex and to address Who was there? them it takes far more than opening doors or putting up a poster. Some Ingrid Skeels, Amy Harrison, Shani Ali, communities need more input /support Caroline Stealey, Rowan Fae, Anna /inspiration/opportunity /nurturing, Wilson which can cost more and mean working intensively with smaller numbers. Notes: If help with this barrier isn’t possible 1/ We discussed some of the BARRIERS or wanted, then it needs to be openly C&YP from certain communities (outside admitted and then the discussion can city centre and those experiencing go from there. Currently it can feel like multiple deprivation) face in accessing inclusion is ‘claimed’ by many because the visual arts offer of the city: it’s on the agenda, but not really enabled. Lack of arts/cultural capital, value or This also goes for programming. Room confidence at home 13’s experience is that they are can be • Lack of parental support in any area given the opportunity to take part in • Travel costs to access city centre programming (for example, running a venues workshop at an event or bringing groups • Cost of paid for events/activities of children to participate) but the full cost falls on them – a tiny Hartcliffe project – • Lack of positive mentors/role models to raise and make it happen. • Lack of spaces within communities Free bus travel in the city for under 18s for creative activity to occur – as in London – would go a long way to • Cultural barriers e.g. lack of making the city centre and visual arts and confidence to leave their areas or culture more democratic and accessible. access the unknown; venues not It would not solve the other barriers being welcoming/accessible to BRISTOL VISUAL ARTS REVIEW • 27 March 2018 77

but it would be a wonderful start, and from if children from poorer areas are would enable us all to concentrate on the experiencing no arts/creativity? others. For some children, participating in Whilst artists’ studios as working places making and the visual arts can have huge often feel very accessible to all (e.g. the impact on the wider challenges they face huge success of Spike Open Studios) the in terms of well-being, confidence and front of house of galleries themselves skill development. can often feel exclusive and intimidating One young girl from Room 13 who had for so many audiences. Why are they like moved onto Secondary School (Year that? How do we solve that? When Room 8 – she was just 13) took her own life 13 children take part in Open Studios they this year. Only two years earlier she are part of the institution and it feels very had written: “art is the glue that holds different. me together.”. How can ALL children There are examples of good outreach access making and the arts so that those practice now, like Bristol Family Arts who are artists and find that this is the Festival – community outreach strand way they process and make sense can with libraries (led by Architecture Centre, continue to do so, often in the face of Arnolfini, Watershed and Children’s incredibly challenging lives? Scrapstore) …taking the arts/cultural offer If the investment in the visual arts is of the city out to communities where about building sustainability and legacy, there is little arts opportunity then investing in the development of the creative talent of ALL children and young 2/ The space and support for creativity people should be a top priority. and the visual arts in education is vital It is very important for ACE nationally for children’s personal growth and and regionally to challenge education development and it is that allows young policy/decision-making which is currently visual artists to emerge and develop, diminishing/under valuing the role and as well as generally producing the importance of arts / creativity – and to creative thinkers and do-ers that society/ actively demonstrate the value they bring all work needs. Creativity allows for to young people, society, the economy. experimenting, making, problem solving, We want to see a much stronger voice lateral thinking, ability to question and and role in ACE around this. challenge, confidence… and it is what leads some children on to the visual arts. 3/ Arts Council’s Goal 5 focussing on School and state education is one place children and young people – will this where ALL children get offered the same, strategic corporate priority for ACE be yet creativity within the school curriculum part of the criteria and final decision- and education is greatly diminished. making for the £3.3 million Bristol Where are children from disadvantaged visual arts investment? Any investment backgrounds going to get experience of should encapsulate ACE’s own quality art and creativity now? Where will visual principles for working with children and artists from ALL backgrounds come young people. As an audience and as BRISTOL VISUAL ARTS REVIEW • 27 March 2018 78

participants/programming, children and everything on double backed sugar families often seem to come lower down paper, it is going to be easy to dismiss. the hierarchy……valued less…and this But if children’s creativity and expression should be challenged. and artistic development is treated Bristol City Council’s investment in seriously, their work is very different. arts and culture very much focuses on What can we learn from children as diversity, deprivation and communities – artists and what they have to say about how will the ACE investment add value themselves, their world and how they to this and help deliver on the current say it? We need children to be treated corporate strategies of the council and more equally and more opportunities the social priorities they have identified as for children’s work to be exhibited ….so being critical for the city? that adults can engage and learn, and to inspire other children and help develop the next generation of diverse artist/ 4/ What you decide to measure is creatives. critical to what gets done! Inclusion and ch/YP are priorities, but how are Also, more opportunities to engage they measured? And how is the impact children/young people as co-creators of visual arts activity/involvement/ and co-curators …being authentic about experiences measured? In terms of the power balance and valuing them as creativity, confidence, educational equals…. presenting their ideas and work achievement, sense of agency…. in a high-quality way. An example of this was the ‘Future City Takeover’ where child artists from Room 13 took over the 5/ Children/YP should not be a sub- Architecture Centre’s gallery for a live section or an extra! Within large arts residency interacting with the public and organisations there needs to be strategic then creating an exhibition, exploring (leadership/governance) buy-in to thoughts, ideas and challenges of city making the whole org/venue/programme life in the future. But this kind of joint welcoming and accessible to children, working is very rare, especially where young people and families…. not just in the project partner is paid fully. the C&YP/schools/Families programming.

7/ We need to raise the profile of socially 6/ Linked to this, there are not enough engaged / C&YP focussed artists/ opportunities currently for children to be practitioners…. They are committed to viewed/treated/respected as artist ……. social objectives rather than more artist- Room 13 shows that given the right focussed exhibitions, and their important support, space, opportunity, children work needs to be seen much more. ARE artists: they have creative ideas and things to express and find a way to do so through making and creating, 8/ Architecture/place is a great visual art sometimes working for more than a year process/discipline to engage children and on one piece. If you give children half an young people meaningfully with…. very hour to all draw a sunflower and display accessible (we all experience it every BRISTOL VISUAL ARTS REVIEW • 27 March 2018 79

day and so can have an opinion about / sustained – could also be a Bristol Port it) and is real and tangible …. children Levy or airport levy or University levy fed as citizens can get involved in the real into the Children’s Art Fund. design processes shaping their city/ Individual artists, children’s groups, neighbourhoods……… smaller arts or VCS orgs could then make application to the fund (which 9/ Our ideas/ solutions! had some criteria for investment…. There is only a relatively small pot/cake such as Quartet’s Funds) to deliver of funding from ACE to address children/ impactful work that worked towards the YP, especially from disadvantaged challenges of arts/cultural inequality in backgrounds. At the same time, the city the city. So, funding for artists who want is very wealthy in terms of business and to collaborate with children or schools; individuals. for children as artists; for anything that brings more arts/creativity to children in We suggest some of the pot to be used the city. to launch a children’s arts fund for the city, with ACE funding the person to set Support the Bristol Child Friendly City it up and do BIG publicity and to put in ambition to get free bus travel for all some seed funding (possibly handing it under 16’s or 18s in the city – enabling over to Quartet after it is established??) them to access the rich arts/cultural life of the city more easily – this has been This fund would be only for arts/culture done in London and has a big/positive work with children in the city, with the effect. priority being for the more disadvantaged areas (criteria to be worked out), to Invest in the whole ecology of visual ensure that much more of it can happen arts in Bristol not just the large on top of the bits of work organisations institutions…. the smaller, more grass do. roots organisations are often the ones having more direct impact on children’s We believe that lots of people would lives and creativity …. working with real give to this as it has a social outcome as integrity and insight with many years’ well as arts outcome – benefitting the experience…. without investment creativity of children whether that be nurturing them as individuals and future Make Bristol a beacon of best practice of artists, or developing a future creative involving C&YP in visual arts…. a jewel in innovative work force. Businesses would the crown give out of their CSR etc. Individuals As Darren Henley (CE of ACE) says: would give. Adult artists would give. (creative) talent is everywhere (every It would go into one pot and then be child, in every community), but targeted at those C&YP most in need in opportunity isn’t……. let’s put his words the city. It could also become an accepted into action and make sure some of the investment channel for section 106/CIL £3.3 million investment opportunity goes monies from new developments in the to giving children and young people in city (as a kind of % for art for children) – Bristol more opportunities to benefit this would see the pot of funds refreshed from the visual arts. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 80

33. What should the future of the visual arts in Bristol look like?

Title of session: in SW region. Text heavy exhibition notes Arnolfini open or shut? What could a come before work etc. shared vision for 2022 be and how could Students from UWE could useful be as a transformed Arnolfini support it? within the building already. Arnolfini working towards being a Who called it? resource and a network and away Alex Bradley & Claire Doherty (sessions from being an edifice and institution. merged) Artist seen as life blood to this system. Historical organizations draw audience. Notes: Arnolfini can be seen as partnering with 4 areas for Arnolfini to concentrate upon: differing organizations e.g.: NHS or artist development, activity, audience and changing city planning. Galleries can help international. artists small scale to large scale. How do we start to collaborate? Arnolfini Gatekeepers. Artists can be listened acts as an ‘engine’ to fuel activity from to. Key structures need to be reviewed inside to out. Arnolfini is a brand with a Arnolfini board (as successive failed 50-year history. directorships). Arnolfini undergoing a fundamental restructure in regard to Question to CD: Are you prepared to finance, governance. 2018 Arnolfini manage a good ending? transformation upon outcome of review. Should Arnolfini exist? A year of difference. Build it and they will come. Arnolfini Arnolfini engaging in Knowle West? Open built over 30 years ago. Usually 1 major conversations between organizations and building becomes a focus in cultural artists- ‘What might be?’ history. We need champions for artists and Bristol has strength in artist led disparate groups. initiatives, internationalism, potential to Arnolfini needs to engage with wider make cash from culture. There should be groups, a forum, ongoing. large scale interdisciplinary arts event in 2022. Bristol has a strong vibrant arts scene in the last decade a good basis upon to Arnolfini has a considerable regional reimagine. Arnolfini is a potential beacon draw for audience. of excellence. Next year is a test of new Is Arnolfini worse than Baltic, things. Whitechapel? No. Gatekeepers – break up of institution Importance of a building in the public to artist initiatives? BCC want to see realm, familiar, accessible in many ways. a cascade of funding between all The day to day encounter with art. organizations not just Arnolfini. Up to now Arnolfini remote from artists Board members are not about power but BRISTOL VISUAL ARTS REVIEW • 27 March 2018 81

responsibility. Financial model needs to 20 years ago, Arnolfini gave artists review. Business funding in UK not viable opportunities, this can be done again. due to low margins. Unlocking of private Take in artists and push them. We can wealth? Short term possibilities but what wish for the future but there is a need to is the model for 2030 and onwards? acknowledge and connect with existing Arnolfini and its destiny. The artist artist organizations in the city. environment is fragile. Partnerships help, Boards and diversity- big challenges in advocacy from BCC? Confidence in the recruitment from BME. rejuvenation of Arnolfini. Potential for interventions outside of Arnolfini. BRISTOL VISUAL ARTS REVIEW • 27 March 2018 82

Appendix 4 Visual Arts Investment : 2014/17

Breakdown of Arts Council England’s Investment* in Visual Arts 2014/17 £3,500,000 £3,000,000 £2,500,000 £2,000,000 £1,500,000 £1,000,000 £500,000 £0 2014/2015 2015/2016 2016/2017 Bristol £3,206,545 £2,490,052 £1,722,582 Liverpool £2,463,130 £3,104,323 £2,936,398 Nottingham £2,181,998 £1,962,361 £3,116,317

*all funding streams

Arts Council England’s Per Capita Investment* 2016-17 £12.00

£10.00 £9.58

£8.00 £6.06 £6.00

£3.79 £4.00

£2.00

£0.00 Bristol Liverpool Nottingham

*all funding streams BRISTOL VISUAL ARTS REVIEW • 27 March 2018 83

Visual Arts Investment : 2014/17 (continued)

Breakdown of Local Authority Investment* in Visual Arts 2014/17 £800,000 £700,000 £600,000 £500,000 £400,000 £300,000 £200,000 £100,000 £0 2014/2015 2015/2016 2016/2017 Bristol £677,435 £84,205 £68,087 Liverpool £429,021 £418,725 £418,724 Nottingham £225,088 £204,219 £183,797

*as reported by NPOs

LA per Capita Investment* 2016-17

£1.00 £0.86 £0.90 £0.80 £0.70 £0.57 £0.60 £0.50 £0.40 £0.30 £0.15 £0.20 £0.10 £0.00 Bristol Liverpool Nottingham

*as reported by NPOs BRISTOL VISUAL ARTS REVIEW • 27 March 2018 84

30% 4%

Liverpool Walker Tate Liverpool Art Gallery Income: ^^ Population: 484,578 Income: a-n membership: 429 Visitors: 635,000 £1,136,936 43% 7% Visitors: Artist Led Spaces 139,245 70% FACT • A Particular Act + Income: 96% £1,995,090 • A Small View + 56% 16% Visitors: • Cactus + 249,523 27% • CBS + The Bluecoat 18% • Granby Workshop Income: Liverpool 50% £1,771,222 Biennial • Spare Room Residency + Visitors: Income: • The Royal Standard^ 89,516 £1,371,039 • The Trophy Room + 28% Visitors: • Tzuzjj+ 109,339 7% • White Wizard + 53%

Nottingham 36% 15% 35% 17% Population: 325,282 Nottingham a-n membership: 561 Contemporary New Art Income: Exchange Artist Led Spaces £2,065,417 Income: 1,042,582 Visitors: • Bonnington Gallery Visitors: 54,457 86,132 • City Arts 49% • HUTT Collective+ 48% • Lace Market Gallery 16% • Mrs Rick’s Cupboard Primary (Nottingham • Nottingham Lakeside Arts Backlit Studios 4% Studios) • Nottingham Society of Artists Income: £116,503 Income: £124,841

Visitors: 4,200 Nottingham Castle Visitors: 4,839 • TG+ Income: £2,885,542 • Surface Gallery Visitors: 670,000 • Syson Gallery • One Thorsby Street 55% 45% 55% 45% • Trade Gallery^ • The Attic^ 80%

Situations 2% Bristol Income: £277,337* Population: 454,213 Visitors: 35,305* a-n membership: 779 20% 56% Artist Led Spaces 56% 24% Royal West of England • BEEF+ Arnolfini* Academy • Bristol Biennial Income: £1,967,125 Income: £629,404 Visitors: 180,678 • Bristol Diving School^ 8% Visitors: 42,396 • Champ 23% 42% 3% • Hamilton House Studios Spike Island • Jamaica Street Studios Income: 97% • Motorcade/ Flash Parade^ £1,055,318 Visitors: • The Viriconium Palace+ 31,012 • Test Space • Ebc+ 69% LA/Public Grants ACE Contributed & Earned BRISTOL VISUAL ARTS REVIEW • 27 March 2018 85

Notes Visitors: Where possible, based on a 3yr average Income: of visitor numbers as reported in annual Where data is held, income is based on submissions or most recent funding an average of 3 years’ accounts (2014/15, application to the Arts Council. 2015/16 and 2016/17) as reported in annual * Arnolfini visitor figures take an average submissions or funding applications to Arts of 2014/15 and 2016/17. 2015/16 figures Council England (ACE). Total Arts Council non-representative due to disruption England income and total per annum caused by UWE’s capital development excludes restricted funds (e.g. project based work. strategic funding). * Backlit & Primary – visitor figures for * Backlit & Primary – Income taken from 2015/16 only as recorded in 2018-22 NPO statements filed with Companies House – applications. includes restricted funding from the Arts Council as breakdown between restricted/ * Liverpool Biennial – data from BOP unrestricted not consistent over the 3yr consultants evaluation for 2016. Data period. for 2014/15 showed visits not individual visitors and would have artificially inflated * Nottingham Castle – data only available the average. for 2015/16 as reported in 2018-22 NPO application. * Nottingham Castle – data only available for 2015/16 as reported in 2018-22 NPO * RWA – Total income is an average of application. three years. Breakdown between income sources taken from just one year’s * Primary – no data available for 2014/15, accounts (2016/17). 2015/16. * Situations – average of 2yrs accounted * Situations visitor figures takes an average income (2015/16 and 2016/17). Unusually from the last two annual submissions large LA income in 2014/15 discounted as (2016/17 and 2015/16) prior to which no unrepresentative data available as project based. * Walker Gallery – average of 2yrs * Tate Liverpool visitor numbers taken accounted income (2015/16 and 2016/17) from Tate Annual report 2016/17.

^^Tate Liverpool – no figures/ breakdown Population: available for Tate Liverpool separate to – Figures used represent the ONS mid- Tate so percentage split taken from Tate 2016 population estimate [https://www.ons. as a whole. gov.uk/peoplepopulationandcommunity/ populationandmigration/populationestimates/ bulletins/annualmidyearpopulationestimates/ latest]

Artist Led Spaces: + = a-n 2017 ‘Artist Led Hot 100’ ^ = a-n 2013 ‘Artist Led Hot 100’ BRISTOL VISUAL ARTS REVIEW • 27 March 2018 86

Appendix 5 Brief Biographies

Godfrey Worsdale James Lingwood

Born in Yorkshire, Godfrey Worsdale trained James Lingwood is Co-Director of Artangel. as an art historian and conservator, and Amongst over 125 projects produced began his curatorial career in the early 1990s over the past twenty-five years are Rachel in the Department of Prints and Drawings at Whiteread’s House (1993–94), Michael the British Museum. Subsequently, he was Landy’s Break Down (2001), Francis Director of Southampton City Art Gallery and Alÿs’s Seven Walks (2005), Roger Hiorns’s then founding Director of Middlesbrough Seizure (2008) and Inside – Artists and Institute of Modern Art (MIMA), which Writers in Reading Prison (2016), as well opened in 2007. Godfrey Worsdale became as moving-image installations with Yael Director of Baltic Centre for Contemporary Bartana, Douglas Gordon, Dinh Q. Le, Art in 2008, moving to the Henry Moore Steve McQueen and Tony Oursler. James Foundation as Director in 2015. Lingwood is also a Trustee of The Art Fund and The Paul Hamlyn Foundation. © Arts Council England 2018