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Arts Industry August 2017 LEADER THE ONLY MAGAZINE FOR THE ARTS SECTOR AVAILABLE ONLINE AND IN PRINT August 2017 / Issue 344 / features / jobs / www.artsindustry.co.uk / @artsindustrymag AI / 344 CONTENTS FEATURES 8 Visual Arts Wall Flowers A new generation of street art is blooming in Belfast, moving beyond the traditional murals that have marked decades of conflict in the city. Patrick Kelly reports 14 Funding ACE’s big shift £170m more for the arts outside London, with surprises in the new National Portfolio. AI takes a closer look 17 Theatre The thirty year walk in the park 8 Louise Bryning on three decades of pioneering promenade productions at the Dukes Theatre in Lancaster 22 Heritage How a kiwi became a national monument A chalk carving in Salisbury Plain made by mutinous First World War soldiers has been declared a monument, along with a buried model of an Ypres battle town, as Simon Tail reveals 25 Festivals Coming in from the cold Selby is known for coal rather than culture, but the town hopes all that will change with its first arts festival REGULARS 4 AI Profile Dr Charles Saumarez Smith CBE, secretary and chief executive, Royal Academy of Arts 7 Dea Birkett 25 12 The Word With Opera Holland Park, The Times got the wrong example of elitism in public funding to take a swipe at the Royal Borough of Kensington and Chelsea after the Grenfell Tower fire 17 20 Simon Tait’s Diary 28 My Story A new kind of arts consultancy, Branch Arts, has been launched by Flora Fairbairn and Susie Lawson, who come from different corners of the cultural domain 30 Papertrail Cover photo: The Royal Institute of British Architects (RIBA) opens its new national architecture centre, RIBA North, with a major display called Un-veiled by KHBT Architects. The public can walk through multiple layers of red mesh, a typical building site material covering scaffolding, that are cut in the shape of iconic buildings of cities of the ‘Northern Powerhouse’ including The Sage in Gateshead, Imperial War Museum North, Liverpool Catholic Cathedral and York Minster. The building’s City Gallery also offers a space for visitors to learn more about Liverpool’s architectural past present and future. 2 Arts Industry August 2017 LEADER ACE’S PRAGMATIC SLEIGHT OF HAND ith the momentum shift to with a £5m a year cut in its grant, is regional funding announced back, but what does this mean? Nothing Win Leicester last week – and in the funding sense, because the grant what new chairman Sir Nicholas Serota they already get as a non-NPO is not called the largest ever increase in Arts to be increased, so that by 2022 and the Council England’s portfolio – ACE end of this funding round they will be has done what it has been told to do considerably worse off in real terms. But by select committees and successive while the loss of the money is bad, the culture secretaries, but despite overall loss of the Arts Council’s imprimatur grants in London being down 4% and in is disastrous for fundraising. Sponsors, the regions up by an average 22% they foundations and philanthropists like to have done it without doing noticeable see that ACE logo on the begging letter. damage to London (some smaller London By contrast Bristol’s Arnolfini gallery, organisations have even been added to an NPO since the portfolio was set up the portfolio). They have also extended 13 years ago, has been cast out with the three year funding round to four to nothing. All its £750,000 goes, just as a make planning easier and reduce time new director takes over, because – like spent filling in grant application forms. ENO three years ago – its business model The sleight of hand has been to take wasn’t good enough. There are hints that the new additionality rules about the with the right advice the Arnolfini will be national lottery to heart and use its back, but that won’t help as the gallery lottery reserves to give £170m more to approaches four unsubsidised years, the regions over the four years, and leave a year longer than ENO had to endure. London on more or less standstill with ACE’s move is both bold and nuanced, the four big national clients, the Royal designed to help local authorities, many Opera House, National Theatre, RSC of which have had to drastically cut and Southbank Centre, being persuaded their communities’ culture quotient, to take a 3% cut, acknowledging that through their arts funding changes they are better placed to get alternative into partnerships to keep funding and funding. standards high, to bring on promising English National Opera, cast out of enterprises, and to emphasise the need the national portfolio three years ago for more diversity in our modern culture. ai – Arts Industry is published by Countrywide Publications, Fountain Way, Reydon Business Park, Reydon, Suffolk IP18 6DH T: 01502 725800 F: 01502 725857 E: [email protected] Publisher Simon Tooth T: 01502 725838 E: [email protected] Co-editors Simon Tait T: 020 8693 5672 E: [email protected] Patrick Kelly T: 01904 234748 E: [email protected] Design and production Mark Shreeve and Jade Matthews T: 01502 725839 Recruitment sales & Subscriptions Danny Lewis T: 01502 725862 E: [email protected] Printed by Micropress Printers Ltd, Reydon, Suffolk. Opinions expressed in ai are not necessarily those of the publishers. No responsibility is accepted for the content of advertisements. © Arts Industry 2017 Arts Industry August 2017 3 AI PROFILE Dr Charles Saumarez Smith CBE, secretary and chief executive, Royal Academy of Arts Opening art’s jewel box hen he was inter- had had what many would think was bridge in history and history of art viewed for his present already a fulfilled career: he’s been followed by a burgeoning academic job, one of the panel director of both the National Gallery career which took him to Harvard, asked Charles Sau- and the National Portrait Gallery, and the Warburg Institute and finally back Wmarez Smith if he had an experience at both he had seen through major at Cambridge with a research fel- of the art world. “Given that I was capital developments. lowship. He seemed destined to be a director of the National Gallery at the The one he is presiding over now, Cambridge fixture with architecture time I hope that I was able to come up however, dwarfs the others both in his speciality – he had written books with a satisfactory answer… well, I terms of size and the effect it will on 18th century decoration and Castle got the job. But it’s a thing with head have. The £50m Burlington House Howard, the subject of his PhD. hunters, they tell panels to ask eve- scheme will open next year, marking Architecture remains his abiding ryone the same questions and there the RA’s 250th birthday, and is the love. He has lived in the East End might have been some who didn’t biggest single thing to happen to it since 1971, latterly in a Georgian know much about art…”. since it moved to this building in Pic- house in Stepney with his wife Romil- The question is a measure of where cadilly 100 years after its foundation, ly and two sons, and has just pub- the RA had got to in 2007, where busi- in 1868. It will open the closed colle- lished a book of photographs, East ness sense was vital to the continued giate institution to the public, reveal- End (Thames & Hudson), which is a existence of the institution. His two ing its renowned schools, its incom- collection of the smart phone pictures predecessors had both come from the parable collections – each candidate he has taken across the years in regu- financial world, and one of them liked from Sir Joshua Reynolds onwards lar ramblings over what he regards to refer to the academy as “a £100m a has had to submit a work of art – and as an urban village that continually year business”. its members’ work. Just as crucially, it renews itself. And yet it was founded and is run will reawaken the RA’s role as a cen- But at 28 he found himself at the by artists, the self-selecting best in tre for debate in the arts, with the rec- V&A, brought in by Sir Roy Strong to the country, and it has become world reation of its lecture theatre. run a new joint MA course in the his- renowned for its exhibitions, with Charles Robert Saumarez Smith, tory of design with the Royal College its annual open Summer Exhibition known to colleagues all his working of Art. He found that life in a national bringing thousands of submissions. It life as “CSS”, is a tall, amiable man of museum was not so different from gets no government funding and re- 63 who has a sure scholarly sensibil- Cambridge, and he took to it with joices in its independence. ity, overlaid by a sense of the popular. ease. Not only did he survive the de- Saumarez Smith is celebrating A scion of a family that numbers at parture of his mentor, Strong, he also ten years at the Royal Academy, but least one 18th century admiral in its rose to become the V&A’s head of re- before he came anywhere near it he line, he took a double first at Cam- search. 4 Arts Industry August 2017 Opening art’s jewel box In 1994 he was the surprise ap- pointment as director of the National Portrait Gallery (as Strong had been two decades before), just as the Na- tional Lottery began.
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