ARTS & CULTURE EDITION SUMMER 2017

CANVAS BY

APPEALING AND REVEALING TREASURING THE PAST AND EMBRACING THE FUTURE CANVAS ARTS & CULTURE BY SAXTON BAMPFYLDE WELCOME

Welcome to the Arts and Culture Summer 2017 edition of Canvas, the insights update from Saxton Bampfylde. Our aim is to share interesting thoughts and perspectives on topics and issues that are relevant and current in your sector.

We very much welcome any thoughts, comments, or inputs you would like to share.

We hope that you enjoy Canvas.

CONTENTS

INTERVIEW WITH DR. XA STURGIS, MAKING (GREAT) DRAMA OUT Pg 4 DIRECTOR, Pg 8 OF A CRISIS – IAN SQUIRES, CURVE, LEICESTER

Pg 14

KEY APPOINTMENTS

Pg 15

NEWS ROUND-UP Pg 10 TEAM INSIGHT: DR. JENNIFER BARNES

2 CANVAS EDITION OVERVIEW

EDITION OVERVIEW

Stephen Bampfylde Chairman, Saxton Bampfylde m [email protected]

he Arts and Culture sector is the founding principle and vision of Ashmolean Museum at the University of about as broad as any you each organisation, holding dear to that . Talking about the relationship can find, with extraordinary individuality, but also having a very clear between a museum and a higher depth and reach. The variety of strategy for how to stay on course to education institution, Xa looks at how Tinstitutions, venues, operational models, deliver that vision is becoming crucial. new doors and worlds can be opened cultural disciplines, skills and most The absolute need to maximise the up, whilst reflecting on the challenges of importantly people working within them assets of each organisation, and spend delivering this. is almost endless. Each with its own a far greater amount of time in engaging character, direction, way of engaging with existing, but also new and future We are also delighted to have a bylined and evolving. audiences. These are all the challenges article from Ian Squires, Chair of Curve, being faced every day in the sector. Leicester, a theatre taking its work, However, this individuality is being created in Leicester, to an audience on challenged and the ability to evolve for In a reflection of the breadth of the a global scale. some is becoming more about surviving. sector, we feature two senior figures These challenges are arising as common within the Arts world in this edition of Both bring an individual perspective, themes across this hugely broad sector. Canvas. but draw very clearly upon common Those of funding, and also of remaining themes, opportunities and ‘dramas’ for current, interesting and relevant to the Firstly, we have interviewed Dr Xa the sector as it moves forward. C public. The importance of remembering Sturgis, Director at the renowned

CANVAS 3 INTERVIEW WITH DR. XA STURGIS

INTERVIEW WITH DR. XA STURGIS DIRECTOR OF THE ASHMOLEAN MUSEUM

4 CANVAS Dr. Xa Sturgis discusses what makes a university museum tick; the challenges and opportunities that it affords both the museum and the Higher Education institution it exists within; and how it can change the way education is delivered by opening doors into new worlds.

A museum operating within the Looking at the other side about what “We are here to Higher Education environment – what museums offer universities, they are often does this relationship mean for both the first door through which many people demonstrate how institutions? come to a higher education institution. They are an open door to the idea of higher thinking can reveal the Part of what it means for a museum is education and the individual university. world.” unquestionably a sense of security within They are very accessible and museums a larger organisation. However, with that are astonishingly popular institutions comes a degree of obligation on the part today. They have a broad, engaged public of the museum that might be different which is of great value to Higher Education that he didn’t know were next door until he from that of a national, municipal or institutions. began working here! There is no denying independent museum. For a university these objects reveal more than a photocopy museum the particular areas of obligation In Oxford, the university museums are ever can. They provide a connection to are around the focus and emphasis on particularly significant and the Ashmolean the past and to people, and a window into research and teaching. By that, I mean is one of four exceptional institutions. another world. specifically teaching within a Higher Collectively we provide different ways into Education context, as all museums see the university, reflecting its intellectual life. We recently received an extremely generous themselves as educational institutions. In a We are here to demonstrate how thinking grant from the Andrew Mellon Foundation university museum there is more focus on can reveal the world. which is specifically dedicated to helping us teaching to students, undergraduate and develop the ways in which we collaborate postgraduates, within their institution and and support teaching within the university. beyond. How does this impact on the operation A key part of this is the development of a and development of the museum? new programme called Faculty fellowships, A lot of university museums were not which is geared towards ensuring sustained founded or developed specifically as There are obvious logistical and practical learning opportunities. This project involves teaching collections. Many were purely issues that relate to teaching and research. us working very closely with the IT team here seen as part of a broader cultural focus for We need study rooms, space to store the to develop better and more sustainable the institution. Our Raphael drawings for objects and of course qualified museum platforms for students to have access to and example, which form the core of our latest assistants who can retrieve objects and revise from. Whether it be 3D scans, better exhibition, were given to Oxford in the bring them to classrooms. imagery or other information, by making 1840s in the hope that they would improve all these files available online in addition the morals of the university students! We are also inviting the academics and to allowing hands on teaching sessions in Increasingly however, we are now looking lecturers into the museum, sitting them our study rooms will, we believe, greatly at our collections and thinking about how down and supporting them in ways to enhance the student learning and also the we use them in teaching the undergraduate teach from collections. We are trying to wider teaching experience. and postgraduate curriculum. do this across many areas and making links with many faculties including English, Together with the other museums at the In an institution like the migration studies, geography, history and University of Oxford we are also looking to which is traditionally very text based this is a the business school. We are trying hard to develop a collections study centre; a space challenge, but one that we are rising to. It is support academics and enable them to be where collections from across the University an exciting challenge. We want to share how comfortable working with objects rather will be accessible for teaching and research. the extraordinary encounter with the many than using a purely text based approach. Plans for this centre are currently being objects amongst these amazing collections developed and we are very lucky to have can open more windows onto the past or Our own Egyptian curator teaches the identified a site right in the heart of the onto ideas than any text book can. We are Egyptology course he studied when University – two large basements that used working hard to suggest different ways of he was a student at Oxford University. to be library stacks under the lawns in front thinking about a wide range of different However, at that time he sat in the school of the Museum of Natural History. subjects through these collections - helping of archaeology, right next door to the to develop possibly more empathetic, more Ashmolean, looking at photocopies of If teaching brings certain operational imaginative ways of thinking. objects that we had in the museum; objects demands, the role of the Museum as a

CANVAS 5 INTERVIEW WITH DR. XA STURGIS

champion of research brings others. This not only involves making our collections “There is a real focus on improving the accessible to researchers, both physically and interdisciplinary approach. Museums are absolutely virtually, but also revealing the fruits of this research to as wide an audience as possible. one of the best places in which this type of thinking Our exhibition programme is critical here and happens almost as a matter of course.” looking at our programme going forward the intention is that it will always, or as frequently as possible, be backed by new research carried out in the University or beyond. Our recent Raphael exhibition is great example of this. The sector and opportunities arising I would example through building a strong institutional outcome of a Leverhulme-funded research say that the development of academic endowment fund. Until this point I think it is project, it explored the way in which Raphael disciplines and the way in which universities fair to say that university museums have been used the drawing process as a way of thinking are being encouraged to think about teaching somewhat protected from funding cuts, but and revealed him as a far more experimental and research is a hugely exciting one for there is no denying there are storm clouds on and adventurous artist than he is often us. There is a real focus on developing an the horizon and we need to be ready for this. considered. interdisciplinary approach, with a real need to escape from silos of particular well-established “We are a universal, One next exhibition - ‘Imagining the Divine: Art academic disciplines. Museums are absolutely and the rise of the world religions’ – will focus some of the best places in which this type as well as a university on the late antique period and establishment of thinking happens almost as a matter of museum” of the iconography of all world religions. It is course. Museums by their very nature are an enormous subject and again the subject interdisciplinary spaces, and I think there is of a major research project involving Oxford a huge potential for us to play a key role in University academics and the British Museum. the development of this kind of thinking and Oxford is arguably the leading university in the working as well as disseminating the fruits of Finally, a major challenge, but also a much- world for the study of the late antique period this working to a wider audience. needed change, is in the digital arena. If we and it is only right that we should highlight this are to truly be a great teaching and research strength in our exhibition programme. Every museum institution will tell you there museum, we must make our collections are financial challenges but again there are accessible in many ways. That needs to be Exhibitions are the most vital way a museum particular forces at play in the Higher Education online as well as physically. I will admit, we can communicate what it is. Looking ahead I sector, not least because of Brexit. It appears are coming a bit late to the party, although hope the exhibitions reflect the huge range Brexit could hit the sector very hard in terms of in sunnier moments I tell myself that this is of our collections but also the range of the research funding, but also about the potential an advantage as we can learn from others. intellectual thinking around those collections restrictions on access for international Although we are looking closely and developing within the museum, the university and indeed students. There is also an impact expected ways for mass digitisation in the end there is beyond. on partnerships, particularly those linked to no escaping the time that collections’ curators funding. This creates a challenge for university need to put into the process of data entry and museums. information checking, which is challenging in a What changes, challenges or collection of over a million objects. opportunities are on the horizon for The Ashmolean is in a very privileged position the Ashmolean? How will it continue to of being not only a university museum, but also evolve in the next 5-10 years? a great public museum. We do have a mixed What skillset or mindset is required funding model which makes us more robust at a senior and leadership level within Thinking again about the Higher Education than some, but we are looking to diversify, for the Higher Education sector at the

6 CANVAS INTERVIEW WITH DR. XA STURGIS

“One of the great joys of the Ashmolean is the breadth and exceptional depth of its collections. They allow us to explore all the great themes of human existence and open doors in so many different directions.”

Ashmolean? Do you consider this to be How do you continue to keep such a donations of collections with the broad aim of reflective of that affecting leadership in breadth of collections, like those which expanding the horizons of their students. They the wider museums sector? exist at the Ashmolean, interesting and all have slightly different stories and this is often appealing to current and future visitors? reflected in their individual approaches and On the whole I don’t think the skillset differs priorities today. dramatically to that required of leaders in I think we couldn’t fail to keep this collection nationals or independent museums, although interesting. One of the great joys of the The Ashmolean is the oldest surviving purpose- I do think that council run museums present Ashmolean is the breadth and exceptional built public museum. Welcoming the public rather different leadership challenges. depth of its collections. They allow us to explore was one of our founding principles. We have all the great themes of human existence and obligations to the university of course, but our One of the main challenges of leading a open doors in so many different directions. The greatest value to the university is that we are, university museum is getting to grips with excitement of museums is in what they offer, and will remain, a great public museum. C the larger institution in which we operate; the immediacy of connection to the past, to , understanding the priorities and objectives other individuals, to other concerns. There is no of the University in which we sit and, as better way of opening a door onto the history importantly (but more challengingly), of humanity than through museums and their understanding how and where decisions are collections. made within this larger institution and how to influence them. Oxford is particularly, and at One area we are developing and considering is DR. XA STURGIS times proudly, complex in this regard and even in the contemporary arena. We are a universal, after three years I still have much to learn! as well as a university, museum and so we do BIOGRAPHY need to address modern and contemporary art Otherwise, as everywhere, the leadership better and more consistently and seriously than challenge is about persuading people of your we perhaps have done. To develop this we have vision and the direction of travel. As just one just appointed a modern and contemporary example the persuading of curatorial staff to curator. This will allow us to shift our thinking devote the necessary time and effort towards about how we address this area, both in terms digitisation requires motivation and the ability of our collections and our programming. to communicate its importance and the benefits this work will bring. Are there other countries/institutions where museums exist within in an HE Are university museums facing similar setting that you admire, and why? challenges to generate more commercial revenue or streamline operations Yes, there are obviously significant university compared to others in the wider museums in the US and Europe and it is museums sector? unquestionably interesting and important to learn from them. The new Harvard Yes, of course they are. Some have more of a has a wonderful new and carefully considered In October 2014 Dr Alexander Sturgis challenge than others. Commercial revenues building. It has very real strengths in the way it became the Director of the Ashmolean depend largely on visitor numbers and the has thought about servicing the work it does Museum having had a distinguished institution’s buildings and surroundings, which with students – beautiful study rooms with career as the Director of the Holburne might for example make it an attractive wedding ready access to stored collections, galleries Museum, Bath, since 2005. Whilst at the or party venue. devoted to particular taught courses and so Holburne Dr Sturgis oversaw a renovation on. Similarly, the Yale University Art Museum of the Museum that included a £13 million Space is always a challenge because you need has developed very interesting ways in which extension. Prior to becoming the Director the space to generate the revenues. To that it uses and trains its students to deliver its of the Holburne, Museum Dr Sturgis extent the Ashmolean is in a strong position – it education programme. Conversely Harvard worked at the National Gallery, , has huge visitor numbers, wonderful spaces, (and to a lesser extent Yale) very much faces for 15 years, in various posts including galleries and a rooftop restaurant. Even with the University rather than the public and I do Exhibitions and Programmes Curator from those assets, the challenge is always there. We think something is lost in not actively seeking 1999–2005. cannot rely on any single source of funding, and developing a broad and wide public. This and commercial revenue always has to be an is around their founding purpose, funding, Dr Sturgis is an alumnus of University important slice of one’s revenue cake. For the mindset and more obviously, their geography. College, Oxford and the Courtauld Ashmolean it definitely is. We are relatively Institute of Art, London. fortunate however; there are other university Every university museum is different and the museums where the challenge is greater, but challenges they face are often around their www.ashmolean.org this does not prevent us from always looking at founding purpose. Some have grown specifically ways to develop our commercial opportunities from research collections, some have grown further. from teaching collections, still more from

CANVAS 7 MAKING GREAT (DRAMA) OUT OF A CRISIS

MAKING (GREAT) DRAMA OUT OF A CRISIS

Ian Squires, Chair of Curve Theatre, shares his thoughts on how regional theatres need to think outside their comfort zone artistically, geographically, financially and structurally. What led Shakespeare and his fellow actors outreach programmes. But there is a ghost at to this dramatic course – dismantling and the feast and the ghost’s name is ‘Funding.’ removing a complete building – was a knotty and complex dispute over ownership brought Over the last decade public funding of the to a head when the lease on the land ended. arts in general and of the major institutions Richard Burbage, the leading actor, claimed in particular has been declining and none that while the ground on which the theatre of that is surprising given the pressure on (it was actually known as ‘The Theatre’) stood local authorities’ spending (one of the major was the landlord’s, the building was his, sources of cash for many regional theatres) inherited from his father. Hence the dawn and on Government spending through raid. Arts Council England. For some theatres this represents a major crisis – hence the Successful in their mission, The Chamberlain’s headline. For Curve, more of a challenge. Men carted away the timbers and had them stored in a riverside warehouse to await re-erection. In July 1599 the new Globe “There is a ghost theatre opened in Southwark. Scholars at the feast and say Julius Caesar may have been the first of Shakespeare’s plays to be performed there. the ghost’s name is I told this story, the story of a journey, at the first Curve board meeting I chaired in ‘Funding’.” November 2016. It seemed to me that it offers a graphic and appropriate metaphor And at this point I should declare a position. for the journey that most regional theatres Having spent the larger part of my 40 year are on these days, a journey that will take us broadcasting career in the commercial – slowly – from dependence to independence sector, I developed particular views about (or close to it). We may never have to pick up public funding and how it is applied. But the building and run with it but the challenge in spite of that I still believe – with some that faces us is just as real. qualifications – in public funding for the arts. Just as I believe the state should fund school education, it should make a contribution to “From dependence the maintenance and sustenance of the arts. And in that I make a special plea for theatre, to independence which has the power to help us understand (or close to it).” our world and the places we occupy in it. horeditch, London, Christmas 1598. You have only to listen to parents and head It is so cold the Thames is almost teachers at schools with which the RSC works frozen over at London Bridge and to appreciate the transformative power of the snow is falling heavily as a Curve, like many of the big regional producing drama. dozen men – armed with a variety theatres (‘producing’ in the sense that we Sof weapons – gather in the early hours of commission and make our own shows as So while ‘cuts’ ( best uttered with a December 28th with mischief in mind. This well as showcasing touring productions) is pronounced sneer ) are never easy – I know ‘band of brothers’, united in their purpose are outwardly and apparently successful. We of one performing company in the Midlands led by Richard Burbage, the greatest tragic have a loyal and diverse audience; a good whose local authority grant has been reduced actor of his day, his brother Cuthbert, and box office; an established reputation as a by 62% - we can’t say we didn’t know it was include in their number a handful of other producer of musical theatre (our Christmas coming. Curve’s local authority, Leicester City well-known performers. Together they were production of Grease – currently on tour to Council, works very closely with the theatre better known as The Chamberlain’s Men, the Dubai - was Curve’s best-selling show since and is hugely supportive of our work and role most prominent acting company at the time the theatre opened in 2008); big touring in the city and beyond. But they can’t magic and accompanying them this frosty night was shows such as the Royal Shakespeare money out of thin air. We have an equally almost certainly their star playwright, William Company’s Matilda choosing Curve as the positive and productive relationship with Arts Shakespeare. Their mission? To steal an opening venue; vibrant youth and community Council England – we’re a National Portfolio entire theatre. schemes as well as effective education and Organisation and Curve represents one of

CANVAS 9 MAKING GREAT (DRAMA) OUT OF A CRISIS

“Regional theatres find themselves having to work even harder for the money that remains available from the public purse.”

ACE’s biggest investments in regional theatre open at Curve this year and why we’re able to heart sink. It’s probably why so many dress – but nor does ACE exist in some parallel get the rights to mount a new production of it up with the euphemism ‘Development’ economy where the funding grows on trees. Andrew Lloyd Webber’s Sunset Boulevard in to banish all thoughts of flag-days and the autumn. tin-shaking on street corners. I hope our Consequently regional theatres find approach is more strategic than that. We’ve themselves having to work even harder for ‘Deploying the asset’ doesn’t just mean established a dedicated team of trustees the money that remains available from the mounting shows in Leicester and then putting and members of the senior management public purse. We are held quite properly them back in the cupboard. It means taking to devise an initial three-year plan for accountable for not only the quality of them far and wide. Curve’s chief executive fundraising. We know how hard this work the work we produce on stage – including Chris Stafford, working with the Artistic is but we also know it can be rewarding. the commissioning of new work and the Director Nikolai Foster, has created a touring The wide spectrum of work undertaken by development of new artists and writers - but strategy which means that many of our shows theatres offers opportunities to businesses also for our effectiveness in the wider public have a long and potentially profitable afterlife. and organisations keen to play their parts agenda – with equality and diversity, with Grease, as I described, is on stage in Dubai – and be seen to play their parts – in the social engagement, with community outreach, as I write. Legally Blonde travelled to South community and to be associated with work of with education, with health and beyond. We Korea, Roald Dahl’s The Witches opened in the highest calibre. expect this, we warm to the task and the team Hong Kong before coming back to Leicester. at Curve sets about delivering on all fronts Regional theatre has to be prepared to with energy, imagination and commitment. And co-production – working with other change its approach to meet the future, theatres – enables us to share costs on big coming at us as it is at the speed of light. We aim not to be just a Fun Palace but also dramas with high-profile casts. Oscar Wilde’s As well as changing the way in which we to be the part of the fabric of the city and the The Importance of Being Earnest (staged in approach theatre-making and the way we region as a whole. our 300-seat theatre) and Joe Orton’s What set about raising money, we have to look Theatre at its highest level – and that’s where we aim to be – is a costly business and theatres are costly buildings to run if you “Deploying the asset to its maximum are going to do it properly and that’s why we need to secure our funding for the long term. potential – the asset being both the theatre and the people who work in it.” Tempting as it might be to whisper ‘steady as she goes’, make a few judicious savings here and there (and we’re good at that too) the Butler Saw (in the 900 seater) were hard at our own roles as trustees and board and attempt to get by on diminishing funds, co-produced with Birmingham Rep and members. it simply doesn’t work. ‘Standing still’ and Theatre Royal Bath respectively (and both ‘getting by’ are not sea-worthy propositions. directed by our own Nikolai Foster). Ravi A New York-based colleague on the RSC ‘Standing still’ amounts to ‘going backwards’ Shankar’s opera Sukanya is a three-way co- board explained to me recently how it (or ‘down’ in the nautical analogy) and that production between Curve, the Royal Opera wasn’t ‘uncommon’ in the States to find arts isn’t in the plan. and the London Philharmonic Orchestra and organisations with more than a hundred premiered at Curve in May. names listed as being on the ‘board’. Equally it Instead, what is in the plan is an ambition to would be not ‘uncommon’ to find that board create some long-term financial stability for And as well as the financial benefits, touring members also made significant financial the theatre and we believe we can do that in and co-production carry the Curve brand donations to their institutions. two ways. First by deploying the asset to its beyond the city limits. Our reputation as a maximum potential – the asset being both theatre that can deliver ambitious projects By and large we do things differently in the the theatre and the people who work in it. grows and more producers want to come UK. Regional theatre boards I have known and work with us. A recent email from Chris have been made up of genuine fans and Our building offers producers extraordinary Stafford, our chief executive, tells me that followers, those who bring a particular skill opportunities. The main theatre currently 12,800 people saw a Curve show in Dubai, (often financial or legal), those who presence has 900 seats (emphasis there on ‘currently’), Edinburgh, Kingston or Leicester. That’s the creates strategic alliances (or may do) across state-of-the-art technology and a gifted and power of touring. a city or region and those who just want to skilful crew. Just about anything is possible at help. Curve which is why Cameron Mackintosh is The second way is through fundraising. bringing his new production of Miss Saigon to ‘Fundraising’ is a word that can make the Whatever reasons bring us as individuals

10 CANVAS MAKING GREAT (DRAMA) OUT OF A CRISIS

Top left: Curve Theatre, Leicester Top right: The Cast of What the Butler Saw Right: Lucie Jones as Elle Woods around that board table the new order means that each of us has to work harder than ever before to bring into play new networks, new contacts, new friends, and new supporters. We need that to help create the long-term alliances that will see us through not just the next three years but beyond and to give us the ability to meet ever-changing circumstances more robustly than in the past.

“Whatever IAN SQUIRES reasons bring us as BIOGRAPHY individuals around that board table the Ian Squires was appointed Chairman International Emmy. He also shared a new order means of the Board of Curve in August 2016. BAFTA Award with the choreographer Prior to that he chaired the board of the Gillian Lynne for their television ballet A that each of us has Birmingham Repertory Theatre for eight Simple Man, celebrating the centenary to work harder than years helping to oversee the theatre’s of the artist L. S. Lowry. Following the redevelopment and reopening in 2013. success of that programme, Squires ever before.” He was also a board member of the became Head of Network Television at Birmingham Hippodrome for four years the BBC in Manchester. until 2009. In 2014, he joined the board of the Royal Shakespeare Company In 2009, he returned to work in If only Shakespeare and his mates had and in 2015 became a trustee of the London as a controller in the ITV thought about changing circumstances when Birmingham Royal Ballet and of Belarus network commissioning team working they up-rooted that theatre. The original Free Theatre. in news and current affairs. His had a tiled roof but – funding the new Globe slate of programmes included the themselves – the actors had to save some In his professional life, Squires had weekly Tonight, The Agenda and the money when they re-built it in Southwark a 42 year career as a journalist and investigative programme Exposure so opted for thatch instead. One afternoon broadcaster. Beginning his career in which lifted the veil on the Jimmy Savile in June 1613, during a performance of the the BBC’s current affairs department, scandal. Programmes he commissioned play we now know as Henry VIII, a spark he also worked in music and arts won awards from BAFTA and the Royal from a ‘prop’ canon landed in the thatch and programming. He produced the Television Society, and in the United television première of Andrew Lloyd States an International Emmy and a smouldered away until flames reduced the Webber’s Requiem from New York prestigious Peabody Award. entire building to the ground. Eye-witnesses City and was executive producer of said it took less than an hour. Fortunately no Leonard Bernstein’s West Side Story, www.curveonline.co.uk one was hurt, but I’m off to check the roof just a programme that won a BAFTA and the same. C

CANVAS 11 NEWS ROUND-UP NEWS ROUND-UP WE PROVIDE A BRIEF INSIGHT INTO KEY NEWS ITEMS THAT ARE CAUSING A STIR LOCALLY AND GLOBALLY.

National Portfolio Organisations announcements – positive vibes and regions on the rise

The Curve in Leicester was the stage for Arts ACE has said that this ‘rebalancing’ will deliver In addition to this support of the regions, Nick Council England (ACE) to make its National an additional £170m for the arts outside Serota also emphasised the need to encourage Portfolio Announcement of £409 million for London between 2018 and 2022. With regards greater international work from national 2018-22. This was an appropriate setting to the funding, ACE Chair Sir Nicholas Serota, and regional organisations. He said that it as according to Apollo Magazine, it was the has said that one of the key hopes is that this was important to develop new partnerships, regions that were very well represented this funding “will inspire a broader range of young generate income streams, and also offer more time, with the strategic decision to radically people and audiences across England than to its local audiences, highlighting the Curve in increase the number of small and medium- ever before.” Talking to The Telegraph, ACE Leicester as a particular example. sized organisations receiving funding. This Chief Executive Darren Henley reinforces that means places like Preston, Poole and 40 other saying that its “plans through to 2022 show The overall positive feeling was welcomed locations will receive NPO support for the we mean it when we talk about great art and by James Doeser, arts consultant, writing in first time. It is expected that this funding will culture for everyone.” This was welcomed by The Stage as he surmises that it “feels like a make a significant difference in these regional Government and more broadly across the portfolio in transition” and predicts that there institutions. sector. should be a lot more to talk about next time.

12 CANVAS NEWS ROUND-UP

What a difference a year makes – Hull, the UK City of Culture

Hull has ‘raised the bar’ for a 2021 successor, according UK City of Culture Independent Advisory Panel Chairman Phil Redmond, with an estimated 1.4 million people attending cultural events in first three months of 2017. As the shortlist for the five places which could win the accolade for 2021 is announced, now is the time to take notes.

From orbiting earth, as the local dish was launched into space, to the depths of the ocean, as a sea of naked residents not just blue with cold, but also covered head to toe in body paint, posed for an iconic Spencer Tunick installation, the One of the things that has helped make resonates with people. From the effective city and its people have embraced its Hull stand out and create such a buzz and straplines such as ’Everyone back to ours’ designation as UK City of Culture. engagement right across the city and beyond, and combining a clever digital and more has been putting 27 year-old Phil Batty at traditional approach has allowed a far greater This is already demonstrating a positive the reins of marketing the programme. The reach to a wide audience. Batty himself impact to the city both in terms of sentiment director of marketing, communities and says the one of the most vital elements in and engagement from locals, but also to legacy for Hull UK City of Culture 2017, The making the programme work and positive the economy with hotel and transport Drum notes that his approach, while not engagement more meaningful is through figures increasing every month, according based on years of experience, has been the workforce of 4000 volunteers who to a study from the University of Hull. borne from an understanding of what continue to support it on a daily basis.

International Cultural connections – a snapshot of UK and international collaborations

This year has brought about a Another interesting cultural exchange number of interesting and innovative has been the UK/UAE 2017 Year of cultural programmes for the UK with Creative Collaboration (engaged with international partners. A high profile over 88,000 members of the public launch at Buckingham Palace with Royals across the UAE. and celebrities saw the beginning of the UK-Indian Year of Culture 2017: the UK/UAE 2017, the cultural exchange programme which aims to celebrate a programme between the United year of cultural exchange. A programme Kingdom and the United Arab Emirates, of cultural events and activities in India celebrates the long-standing relationship will be organised by the British Council, between the two countries and looks and a similar programme in the UK will to strengthen existing cultural and be organised by the Government of economic ties. It has engaged with India. almost 88,000 members of the public across UAE, The UK/UAE 2017 exploring This has already begun with the British the themes of community, inclusion and Council helping to develop a programme the next generation, in line with UAE in Mumbai to improve teaching and Vision 2021. training skills.

CANVAS 13 KEY APPOINTMENTSKEY APPOINTMENTS

KEY APPOINTMENTS

Saxton Bampfylde and its partners around the world through Panorama advise many recognised museums, galleries, performing arts institutions and heritage bodies. We are delighted to share with you a selection of some of the roles that we have been privileged to work on recently.

DR. TRISTRAM HUNT HILARY CARTY LORD JOHN BROWNE Victoria & Albert Museum Clore Leadership Programme Courtauld Institute of Art Director Director Chair Dr Tristram Hunt has been appointed as Hilary Carty takes up the role as Director of the The Courtauld Institute of Art has appointed Director of the V&A. Dr Hunt served as Labour Programme in September 2017, after Sue Hoyle Lord Browne of Madingley as Chairman, taking MP for Stoke-on-Trent Central since 2010, and OBE steps down at the end of August. Hilary is up the post in September 2017. Lord Browne was previously the Shadow Secretary of State well known for her work at Arts Council England. has previously held a number of positions at and Shadow Minister for Education. A historian, Since then she has worked in the UK and major cultural organizations. From 1995 to politician, writer and broadcaster, Tristram is overseas as a consultant in the arts and cultural 2005, he was a trustee of the British Museum. an expert on the eighteenth and nineteenth industries, and most recently as a Visiting Since 2007, he’s been a trustee at Tate, and centuries, with a particular focus on Victorian Research Fellow at the School of Management will step down from his role as chairman urban history. He is the author of several books and Business, King’s College, London, for which this summer. He is also a fellow of the Royal and is a regular history broadcaster on BBC in 2017 she directed an international Executive Society, the Royal Academy of Engineering, and and Channel 4, Tristram has made more than Leadership Programme: Leading Culture in the the American Academy of Arts and Sciences, as a dozen series on subjects including Elgar and 21st Century. Hilary works as a coach, and has well as chairman of the international advisory Empire, Isaac Newton and the English Civil War. written and lectured widely on the subjects of board of the Blavatnik School of Government leadership and cultural development. at the University of Oxford.

RICK HAYTHORNTHWAITE JON WARDLE DAVID GAIMSTER Creative Industries Federation National Film and Television School Auckland War Memorial Museum Chair Director Director The Creative Industries Federation has The National Film and Television School has David Gaimster, formerly the Director of appointed Rick Haythornthwaite as its new announced that Jon Wardle is to be its next The Hunterian at the University of Glasgow, Chair, succeeding Sir John Sorrell, the founder of Director. For 10 years previously, he worked has been appointed as Director of the the Federation. Rick has enjoyed a long career at Bournemouth University in a variety Auckland War Memorial Museum. David is an spanning business, arts and culture. He is of senior roles. During his career Jon has experienced museum director and academic currently Chairman of Mastercard International worked as a consultant for Creative Skillset, with extensive knowledge in the museum and Centrica, as well as digital accelerator QiO, developed courses and is also the author of and cultural heritage sectors. His career Arc International, and The Performance Theatre. a number of papers and book chapters on spans more than 25 years in senior roles in He was Chair of the Southbank Centre, the media education. Annually he leads the BFI national museums, in central government Almeida Theatre, the Tate Corporate Advisory Film Academy Talent Campus Residential. He policy making on cultural property, and as Board and the British-American Arts Association. is a Fellow of the Higher Education Academy the CEO of a national Learned Society and He has also served on the boards of the British and the National Association of Television conservation charity. Council, Whitechapel Gallery and the National Production Executives (NATPE), he is on the Museum of Science and Industry. Royal Television Society Education Committee.

14 CANVAS VIEW FROM THE RIVER: TEAM INSIGHT

VIEW FROM THE RIVER TEAM INSIGHT Take a closer glimpse into the Saxton Bampfylde team with our regular View from the River feature. The office is based next to the iconic Thames where the majority of the team is based.

DR. JENNIFER BARNES GLOBAL ARTS & CULTURE Dr. Jennifer Barnes is a Partner in the Arts and Culture practice group. TEAM

UK Ed Bampfylde, Partner PAST, PRESENT AND FUTURE WITH ONE HOT TIP [email protected] SAXTON BAMPFYLDE I have just finished reading Hilary Mantel’s A It allows me to integrate a rather mongrel Place of Greater Safety, about the complex Jennifer Barnes, Partner background in sport, arts and culture, and flawed individuals who were the catalyst [email protected] industry and higher education. I had positive for the French Revolution. Preceding Wolf experiences with Saxton Bampfylde as a Hall, but every bit as powerful and disturbing. NORTH AMERICA candidate; now I understand better why. They It charts how a small group of friends take John Sparrow, Partner have great practice groups made up of very on big ideas and what they believe is success [email protected] talented individuals. My hope is to continue and a new order is actually senseless violent work where needed, across the firm on destruction. Patrick Kenniff, Partner [email protected] various projects. If I can add a food, I am currently addicted to Jim Zaniello RAINY DAY DELIGHTS… Swedish Cardamom rolls, which I make, or the [email protected] My favourite place for a rainy day is a cabin cinnamon rolls at Bageriet in Covent Garden, in the north woods of Minnesota that my which I pretend is on my commute home, AUSTRALASIA grandfather built. You can see the storms while actually quite far out of my way. Sean Davies, Partner coming across the bay, some benign, some [email protected] terrifying. During the benign, we build a fire YOUR SECTOR VIEW IN JUST THREE and read books. For the terrifying, we take WORDS ASIA cover, in the suitcase storage area, breeze Creative, collaborative and questioning. Neha Sharma, Partner blocks built into a hill. [email protected]

PASSIONATE ABOUT... GET IN TOUCH WITH JENNIFER Saxton Bampfylde is a member Predictable, yet mystical. My family. I am very of Panorama - a global aware of my failings and fragility; they are my m [email protected] partnership of 16 leading independent executive firms motivation, best teachers, and source of my c +44 (0)20 7227 0873 around the world. strength. wwww.panoramasearch.com

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