Table of Sources
Final Draft
October 2005
In partnership with
Experian Business Strategies
Introduction
This report outlines the literature and documents reviewed in order to better understand the visual art sector in England. The
documents recorded have been particularly informative in the preparation for the area-based case studies and for this reason
documents have been listed under the headings General, North West or London.
Table of Sources – General
Name of
Document
Author /
Organisation
Date
Content Summary
Type of
Document
The
Market for
Art
DCMS
Committee
Mar
2005
Page 6 introduction
UK has a 26% share of the global art and antiques market.
Select
Committee
report
Page 6 the UK art market
Retail sector (art sold by artists privately and by other organisations than
public galleries) is rising sharply.
On-line sales currently 0.3% but growing.
Page 13 Artists resale rights (droit de suite)
Will shortly be introduced throughout EU, each time the work is resold the
creator will get a %age of the price. A fait accompli, it is strongly opposed by
the UK government and the British art market as it may displace the art
market to New York or Geneva.
Page 17 the public sector
Supports artists and contributes directly to the market by
 Display and exhibition of work, both in temporary exhibitions and
Arts Council England Contemporary Visual Arts: Table of Sources
1




permanent collections
Direct support via exhibition fees, residencies, fellowships, commission,
purchase of work
Potential sales outlet
Employment of artists as curators, teachers, etc.
Indirect support by educating the public and contributing to the
subscription process (see Taste Buds report)
Page EV6 a-n the Artists Information Company submission to
Committee
a-n the artist’s trade body
artists driven by three approaches
 Public sector
 Private/commercial sector
 Artist-led/self-managing
Jobs and opportunities rising rapidly as evidenced by a-n’s own advertising,
mainly in commissions and public art.
Page EV7 VAGA submission to Committee
VAGA Visual Arts Galleries Association, principally concerned with public
funded activity that supports and promotes contemporary art.
Support of galleries for the art market and artists (as above in main report)
 Display and exhibition of work, both in temporary exhibitions and
permanent collections
 Direct support via exhibition fees, residencies, fellowships, commission,
purchase of work
 Potential sales outlet
 Employment of artists as curators, teachers, etc.
Arts Council England Contemporary Visual Arts: Table of Sources
2

Indirect support by educating the public and contributing to the
subscription process (see Taste Buds report)
Few curators have the expertise or resources to promote sales.
Public purchase budgets have not kept pace with prices, inflation or public
interest.
Risk is a key fact or for galleries in supporting emerging artists.
The Contemporary Art Society Special Collections Scheme (ACE lottery
funding) is the main source of independent funding for contemporary
collecting, enabling regional museums and galleries to purchase
contemporary work, and providing professional support for curators in CPD,
and R&D.
Increasing practice for galleries to produce limited editions (e.g. Whitechapel,
Serpentine, Tate)
Vaga education and outreach ‘VAGA believes that the public sector provides
a key entry point into the art world for budding collectors’
Page EV11 Arts Council England submission to Commission
Relevant ACE activities




ACE collection of British Art, managed by the Hayward Gallery, largest
national loan collection of British Art in the world
Grants for touring exhibitions 2000-4 £6m
British Art Show, every five years Hayward touring exhibition of emerging
artists
ACE register their concern at the standstill funding of the Spending
Arts Council England Contemporary Visual Arts: Table of Sources
3









Fertilising Gerri Morris
the Market Director of
Morris
Hargreaves
McIntyre
Mar
2005
Review 2004
Impact of National Lottery funding, and are still awaiting confirmation as
distributor for this round
Grants for Arts funding 2000-4 £6m
Capital programme 2000-4 £70m
Support for art fairs
Contemporary Art Society, Special Collections Scheme initiated 1997 with
£2.5m Lottery funding, funded regional acquisitions and development for
curators. Completed 2004, no further funding secured
Public acquisition capacity of museums and galleries is ‘severely limited
by their budgets’: ‘the private sector needs strong regional public
collections to develop public confidence and engagement with the work of
living artists’
Own Art, launched 2004, making purchase of original contemporary arts
and craft affordable to the public via interest free loans. Available through
250 regional galleries and outlets.
Studio space – have invested £69m 2000-4
With a-n the Artists Information Company, a Code of Practice for Visual
Arts
This Article, discusses growing of the Art Market with reference to the
findings of ‘Taste Buds – How to Cultivate the Art Market’ for Arts Council
England 2004.
Article for Arts
Professional
Magazine
Two opposing views which emerged Taste Buds:


Art Dealers stated that the market was small and fully developed
5.9 Million people have an unsatisfied desire to buy contemporary art (on
top of the 4.9 million who own art)
Morris describes the mechanics of the market in terms of:
Arts Council England Contemporary Visual Arts: Table of Sources
4





Taste
Buds
How to
cultivate
the art
market
Morris
Hargreaves
McIntyre
Arts Council
England
Oct
2004
Aspirational Art – Art is symbolic of the buyer, Art is ascribed value based
on rarity and endorsement. Dealers manage increases in value controlling
who buys it.
Conformity – Artists are discouraged from selling work, potential buyers
are
Discouraged put off by galleries, dealers are conformist and do little
market development – then dealers and artists claim the market is too
small.
Reducing the threat – Encourage buyers at all levels for the market to
flourish. Whole eco-system needs to be addressed. Need to help new
buyers through interest-free purchase plans, open studio events,
affordable art fairs, and new-style outlets.
Generating Growth – Holistic view of market as well as bottom-up and
top-down cultivation required in order to benefit artist’s seller and buyers.
A year long research programme into the market for original contemporary art Research
Report for Arts
Page 1 summary ‘there is potential to more than double the size of the
Council England
market for original art’
Page 4 the subscription system a process where artists gain value via
dealers, exhibitions and public collections, peer groups and critics. Direct
selling circumvents the subscription system.
Page 8 production there are 34,000 to 110,000 artists in the UK
recognised/avant garde/emerging/most art
43% of artists do not promote their own work (i.e. sell to domestic
purchasers)and prefer to wait for the subscription system to recognise their
work
60% recognise they do not understand the market and would value training in
marketing
average incomes:
Arts Council England Contemporary Visual Arts: Table of Sources
5
emerging £500-£20,000
mid career £12,000-32,000
established £50,000-60,000
most income is from non-sales sources
50% live in London.
Page 10 supply there are 1170 outlets selling, 436 in London:
940 commercial dealers
91 independent (usually artist led)
82 publicly funded (usually local authority)
38 open studio events
13 art fairs.
‘there is virtually no infrastructure outside London for selling critically
engaged, innovative, contemporary art’
page 11 public sector usually concerned with subscription rather than
selling
‘could play a greater role in championing the development of new markets
outside London’
Page 12 art fairs regional, national, international, expensive for artists, tends
to sell accessible art, targets domestic market.
‘there is potential for he development of regional art fairs that focus on the
sale of innovative, critically engaged work’
page 12 open studios/ direct sales
At least 40 events per year, at least 3,000 artists, estimated 434,000 visitors,
market worth £1.5 plus.
Page 13 dealers operate in subscription system, most high end dealers in
London, look to international trade, source most new talent in London
‘dealers could be encouraged to widen their conservative view of the market’
Arts Council England Contemporary Visual Arts: Table of Sources
6
page 14 demand
4.9m have bought visual art, 5.9m aspire to buy but have not yet, total
potential market 10.8m (27% of population)
Majority would buy work by living artist, contemporary in style, innovative
work.
Page 2 Inhibiting factors to growth of market:
Belief that market is fully developed
Inherent conservatism of subscription system
Fear of being perceived as interested in selling
Market
Matters
The
dynamics
of the
contempo
rary art
market
Louise Buck
Arts Council
England
Oct
2004
The workings of the art market, both public and private, are discussed in
order to:


Encourage those that want to buy new contemporary visual art
Make suggestions on how ACE and galleries/museums work more closely
to establish protocols to support the economy for artists and collectors.
Interdependence of arts organisations and commercial sector is highlighted
recognising strong public collections stimulate private collecting & vice versa.
‘Snapshot’
evaluation of the
current
contemporary
art market
commissioned
by Arts Council
England
Mechanics of the Market p12
 Complex fluidity of value and recognition of Contemporary visual art
 Power of Endorsement of contemporary visual art work
Value of the Market p18
 Recent expansion – London world’s 2nd largest art market place after NY
 Building a figure - Difficult – but value of UK’s unregulated primary
domestic market is calculated to be £354.5 m (Taste Buds). Market
Matters calculates in effect of a global economy and public commissions
estimating a market worth in excess of £500 million.
Arts Council England Contemporary Visual Arts: Table of Sources
7
Characterising the Market p21
 Artists – no definitive number of artists in England, 34 -110,000(Taste
Buds). Between 30 -50% of England’s artists and photographers live in
London. Career status of artists is assessed according to myriad and
compound factors.
 Artists’ relationship to the Market – Complicated: importance placed on
sales, peer group approval, or rejection of both. Significant shift towards
wider economy.
 Artists’ view on dealers
Distribution p27
“In England there are around 1,170 outlets (including open studios, auction
houses, art fairs and non-profit and public galleries selling art) which describe
themselves as selling contemporary art. Out of these, 439 (43%) have a
London postcode. However, if this sample is narrowed-down to commercial
galleries solely devoted to sales of challenging contemporary art, then
London has the virtual monopoly.”






Dealers
How dealers operate
Art fairs
Other spaces – Open studios, lottery-funded workspaces, designated
exhibition or project space, artist-run and emerging spaces,
commissioning agencies, Key open shows.
Retailers – retail style outlets (Biscuit Factory in Newcastle and Comme
Ca Art in Manchester) can be first rung on ladder for new buyers.
Websites – contemporary visual art is either unique or limited in number
which does not make it immediately conducive to the bulk sales of an
online market-place – also JPEG’s does not do art justice. Eyestorm,
Britart.com and Counter Editions are discussed. Potential for primary
market sales on Ebay.
Arts Council England Contemporary Visual Arts: Table of Sources
8
Buyers p39
Statistics of ‘Taste Buds’ listed which highlight types of buyers and the
percentages of buyers willing to buy original art, challenging contemporary
art, and art from living artists.
 Top-level and committed collectors - only approx 100 collecting
challenging contemporary art in England. Most are collecting from abroad,
and those that are based in England (and thus mostly based in London)
are largely not British. However the home market is expanding eg. Outset,
a group of London-based supporters of new art raised £100,000 to spend
at Frieze Fair in 2003. Reasons for collecting are also discussed.
 Regular collectors and occasional buyers – described as professionals
with surplus income to spend on art, or artists peers, or those who are
enthused by the celebrity of contemporary art via media coverage and
high profile events such as Frieze Art Fair. A new phenomenon is the
small collective of syndicate of buyers who buy work to share on a timelimited basis.
 Committed and regular collectors: relationship to the market
 Buyers of art by living artists – timid buyers
 Buyers of art by living artists: relationship to the market
Public Sector p49
Artists, dealers and buyers cannot operate within the contemporary art
market without direct or indirect contact with the public sector – subsidised art
schools, studios, galleries, events, and support giving organisations and
networks. Public sector funding comes from DCMS, local authorities and the
Arts Council.
 Arts Council supporting the market – Developed environment for visual
artists in last 10 years. Ambitions for the Arts 2003-2006 ‘higher priority for
the arts’. Own Art and At Home with Art.
 Public galleries and some commercial cross-dressing – historical
relationship is beginning to shift. Partnerships between private and public
galleries are beneficial as public galleries budgets become less restrictive
Arts Council England Contemporary Visual Arts: Table of Sources
9





and commercial galleries receive public endorsement.
Dealers and the Public sector – general view is it is the commercial rather
than the public sector which leads the field in the showcasing, promoting
and developing the latest in contemporary art. There is a strong demand
for new protocols to be drawn up with regard to the interaction of dealers,
artists and the public sector.
Public purchases – Arts Council Collection from 1946, has 7500 work,
grows by about 30 works pa, limited budget of £150,000 pa, largest
national loan collection of modern and contemporary British art in the
world. Generally dealers accuse public purchasers of being unstrategic,
conservative, too slow (meaning prices are high) and prefer selling to
European Union collections which are more immediate. There is no
coherent national strategy for collecting contemporary art. (The Goodison
Review: securing the best for Museums: Private giving and government
support (2004)). CAS and 1998 Arts Council Lottery award of £2.5 million
to develop the contemporary art collections of 15 regional museums and
galleries across England.
Public galleries as positive role models: national/regional purchasing
strategy – drafting of a ‘National Collections Strategy and Regional
Purchasing possibilities ‘ would bring together key players in public and
private sectors to encourage greater boldness.
Training for regional curators
Engaging with collectors
Developing the market p63
 Tax concessions/incentives
 Trade association
 More data needed
 Incentives for collectors
 Developing a bigger picture
Conclusion: the market does matter p69
Arts Council England Contemporary Visual Arts: Table of Sources
10
General consensus is that the public sector should be working with and
enhancing existing elements already operating within the contemporary art
market rather than trying to intervene directly in or run parallel with the
commercial sector – Public sectors role: advocacy; assistance; and
education. Artists are the heart of the market – the Arts Council
acknowledges this. Collectors have to be actively engaged and nurtured to
grow the market.
Crafts
Review:
Towards a
National
Strategy
2004/5
Martina
Margetts
Sept2
004
Arts Council
England
Position
Paper
The Crafts Council, as a RFO of Arts Council England, London, has sought
clarification from the Arts Council England (ACE) on a national strategy for
the crafts in order to focus its operation. This paper covers the roles and
remits of the ACE national and regional offices in relation to crafts, gaps in
provision and priorities for investment, resulting in recommendations towards
a brief for a national strategy for the crafts.
Position Paper
Covering definitions of the crafts, roles and priorities of the ACE national and
regional offices, as well as the roles and priorities of the crafts council and
partnerships between these organisations the following question is posed:
How well is the crafts sector serving ACE priorities? Interesting to note is that
there is no clear definition of ‘crafts’.
Amongst the recommendations in the final conclusions are:



Making it
Prof. Andrew
Aug
Infrastructure: - ACE/CC to work together to achieve adequate venues for
the crafts nationwide.
Professional Development: impacting curators – impacts presentation.
Visibility: better display (read: presentation) interpretation and
understanding of crafts – Establish nationwide priorities for big
international crafts exhibitions, both contemporary and historical.
This study aims to explore the socio-economic situation of craft makers in
Independent
Arts Council England Contemporary Visual Arts: Table of Sources
11
in the 21st
Century –
A socioeconomic
survey of
crafts
activity in
England
and Wales
2002-03
McAuley
2004
England and Wales in 2002- 2003, and contextualise this with information on
the wider crafts economy. Objectives:
Dr. Ian Fillis

Department of
Marketing
University of
Stirling.
To establish the numerical and occupational structure of practising
makers in England and Wales in relation to the scope of the Crafts
Council’s activity and present this in relation to existing structures.
 To asses the socio-economic conditions of makers, including information
about personal circumstances, continuing professional development and
training opportunities, work situation, personal fulfilment, difficulties and
attitudes.
 To obtain information on makers’ attitudes to, and the adequacy of,
support organisation including the Crafts Council and sectoral
infrastructure.
 To asses the economic value of the sector, through primary research
undertaken and desk analysis of existing material in wider cultural
industries.
3.3. The Businesses
p24 “Most crafts people work very, very hard for very small recompense.
More emphasis should be put on opening selling opportunities”
report for the
Crafts Council,
Arts Council
England, and
The Arts
Council of
Wales
p25 - Table 13 Location of main workshop (as 50.7% of makers marketed
‘Direct to the public from workshop’ – 57.8% of makers marketed ‘Through
exhibitions/galleries’ – see Table 28 Use of Marketing Channels page 33)
Note from R. Naylor: take Location Quotient into account!
p27 - 35.6% of respondents generated all or nearly all of their income from
craft activities while 35.2% generated 20% or less of their income from craft
activities - see Table 17
p33 - Marketing channels and selling – the most frequently reported channels
for selling work were commissions (69.6%), exhibitions/galleries (57.8%) and
selling direct to the public from a workshop (50.7%). The combined figure of
Arts Council England Contemporary Visual Arts: Table of Sources
12
18.6% using a website indicated a relatively high proportion of makers using
this mew media as a marketing channel. See Table 28 and 29 (p34).
p34 - Table 30 Use of methods of promotion – 56.6% mentioned exhibitions
(second most dominant category after postcards/leaflets/brochures and 42%
mentioned use of websites. Demonstrations/stand at exhibitions/crafts fairs
and workshops are also listed.
p35 – 39 - Markets and Sales – illustrates the use of retail outlets as part of
the route to market. Table’s 32, 33, 34, 35, 36, 37, 38, 40 (shows frequency
of internet business usage)
p44 – Table 47 target market for growing the business
p52 – 54: Illustrates contact with various associations and the main purposes
for contact (ie. contact with Craft Council for exhibiting opportunities, etc).
Appendix 1 – The Questionnaire - Questions of Interest are:
p72 Q9: Is the subject or style of your work: Contemporary? Traditional?
p77 Q19b: Please tick the different ways in which you sold work during 2002
indicating approximately what percentage of your turnover came from each in
the UK and from export sales (results p33 onwards in chapter 3)
p79 Q21: Please would you indicate how many craft associations you belong
to (results p52 onwards).
New
Audiences
for the
Arts
Arts Council
England
June
2004
New Audiences
£20m invested across the UK over five years to help arts organisations reach
out to new audiences. 1,157 awards made. Work across all art forms was
funded as well as research, evaluation, training and development work.
Generated over 4million attendances to live arts events. Broadcast, online
and promotional partnerships attracted large numbers of new audiences for
Art Council
England
evaluation of the
‘New audiences
for the arts’
programme run
Arts Council England Contemporary Visual Arts: Table of Sources
13
the arts. Website documented the programme. Audience development was
form 1998 to
addressed through:
2003
 Setting the scene p4
 Art in unusual spaces p6 – Addressing placing work where ready-made
new audience s might be, NHS waiting rooms (eg. Mandy Sutter),
shopping centres or public transport.
 New Audiences and broadcasting p8 – using broadcasting and
promotional campaigns, touring work and festivals eg. Channel 4
Peratunity and BBC English Regions for Roots used popularity of TV and
Radio to encourage new talent and audiences.
 New lifestyles, new audiences p10 – Looking at new social trends (e.g.
‘time poor’ era where the arts must compete for peoples leisure time) to
create new types of audiences resulting in projects: ‘Love art Later’, ‘At
home with Art’
 New Audiences: Encouraging lifelong participation in the arts p12
– young people; 5– late 20s via new means: text messages, programmes
– older people; Targeting barriers: Lack of transport; price; having no one
to go with. Projects; Silverscreen, Equal Arts, Time Out.
 New Audience and Families p 16 - 40 projects totalling £1.3m. Family,
priority group. Projects included a partnership between the Oakengates
Theatre in Telford and the Sure Start scheme in Lawley; and Britains first
Bollywood Drive-in in Leicester.
 New Audiences and Diversity p18– over £4m (1/5) was allocated to
projects aiming to develop audiences for culturally diverse work. Funding
was spread amongst existing art organisations who felt their audiences
were not representative of their communities and new projects and
programmes such as ‘Self-Portrait UK’.
 New Audiences and disability p20 – nearly £2m to projects whose primary
focus was disability – encouraging disabled people to engage with the arts
and bringing disability art to a wider audience.
 Rural Change p22 –Close to £1m supporting arts and audiences in rural
areas. Funding to the Littoral arts trust in 2001 where artist of all
Arts Council England Contemporary Visual Arts: Table of Sources
14








Ambitions
into
Action
Arts Council
England
Mar
2004
disciplines worked alongside farmers and other affected to create ‘Cultural
documents of the foot and mouth crisis.
New Audiences – giving people a voice p24 - £1.5m for supporting
research and development into projects addressing social inclusion. Many
diverse and rural community-based organisations received funding, some
for the first time.
In their own words p26 – Findings, reports from organisations and from
independent researchers, were recognised as an important resource,
these were collected and can be found at
www.artscouncil.org.uk/newaudiences.
New Audiences success factors p28
Training has allowed organisations to develop skills and understanding to
that they can continue to build audiences In the long term
Research has produced important evidence about who audiences are,
what they want, and point to models of good practice
New audience development posts funded through the programme are
now integrated into organisations
Measures and mechanisms are in place to help increase audiences in the
loner term e.g. websites will allow organisations to continue to market
their activities online.
New Audiences for the future – 21st C arts organisations need to
understand audiences and the communities in which they reside.
Audience development is a key component of an organisations work.
Lessons learnt through New Audiences are being built into AC funding
programme ‘Grants for the Arts’ and affect the work with organisations
and the audience development sector.
‘Ambitions into action’ asserts the progress made with regard to ‘Ambitions
for the arts 2003-2006’ (the Arts Council England’s’ manifesto published in
February 2003 which identified their six overall ambitions as: Supporting the
Artist; Enabling Organisations to Thrive, Not Just Survive; Championing
Cultural Diversity; Offering Opportunities for Young People; Encouraging
Arts Council
England
Publication
Arts Council England Contemporary Visual Arts: Table of Sources
15
Growth; and Living up to Our Values). From 2003 to 2006 the Arts Council
England are investing £2 Billion of public funds in the arts, including funding
from the National Lottery.

Supporting the artist p3 – Investing £25m in individual artists between
2003/2004 and 2005/2006 – double previous investments. Almost 800
grants given in first 6 months. Developing international opportunities and
connections with 61 residencies in 25 countries and 130 artists benefiting.
Helping gaining access to premises and equipment – artist workspace
was one of the priorities for the 2004 capital programme – 90% of the
awards went to projects, which included space for creating art. Supporting
creative businesses in many regions through loan schemes and advice on
skill and business development.

Enabling organisations to thrive, not just survive p7 – ACE indicates that it
will invest in ‘Organisations that have the ability to produce work of the
highest artistic standards’ - 1300 RFO’s, internationally renowned
organisations, and smaller organisations. ACE will support the talent of
people working in the arts making sure they have the skills needed to lead
the sector e.g. ACE are a major partner in the new Clore Leadership
Programme fellowships.

Championing cultural diversity p12 – ACE is reviewing portfolio of RFO’s
to ensure it reflects England’s cultural diversity. Decibel project and
showcase (ended March 2004) inspired showcase planned for 2005. ACE
want to see more and better funded Black and minority Ethnic- led arts
organisations and artists. Chinese Arts Centre in Manchester and Rich
Mix in east London listed as ACE supported. ACE increasing funding to
disabled artists and disability-led organisations. ACE’s work with Youth
Justice Board gained international recognition.

Offering opportunities for young people p15 – Artsmark Scheme 2001,
Creative Partnerships, both cited as successful ACE programmes. Young
Arts Council England Contemporary Visual Arts: Table of Sources
16
Peoples Arts Award offering 1000 14-19 year olds to take part in a new
pilot 2004/2005 paving the way for a new national award.

The
Contributi
on of
Culture to
Regenerat
ion in the
UK: a
review of
Evidence
Graeme
Evans and
Phyllida Shaw
Jan
04
Encouraging growth p19 – 2002 ACE Research shows ‘huge unsatisfied
demand for the arts’ - important part of economy and can help other areas
(health, education, crime, regeneration) achieve objectives. 2000 almost
760,000 people working in cultural sector, an increase of more than
150,000 since 1993. ACE working with national and local partners to
generate additional resources, forming new partnerships. New Audiences
programme to encourage people to participate – ambassador idea.
P5 Identifies three models of culture’s contribution to regeneration:
 Culture-led
Cultural activity the catalyst e.g. Baltic, Sage
 Cultural regeneration
Fully integrated into an area strategy e.g. Birmingham Renaissance,
Barcelona
 Culture and regeneration
Often small scale cultural intervention at late stage, add-on
Report to DCMS
Summarises examples of the impact of culture and methods of measurement,
on
P9 Environmental regeneration
e.g. re-use of buildings, new buildings, better public spaces, safety, increased
sense of pride, improved transport, creative clusters
p20 economic regeneration
e.g. inward investment, visitor spend, job creation, employer retention, publicprivate sector partnerships, increased property values
Arts Council England Contemporary Visual Arts: Table of Sources
17
p28 social regeneration
e.g. changed perceptions of place and self, increased social activity (social
capital), reduced offending behaviour
p33 summaries of evidence based studies including
Lace Market, Nottingham
Hi8Us
Ulverston, Cumbria
Acme Studios, London
Custard factory, Bham
P57 gaps in evidence
 Culture not adequately recognised in social policy and quality of life
indicators
 Short term evaluation does not always capture all benefits
 Often no single body charged with measurement, so does not happen
 Cultural regeneration can conflict with economic/environmental
 Few holistic approaches
 Inadequate funding for full evaluation
Culture at
the Heart
of
Regenerat
ion
DCMS
2004
P10 Icons, Cities and Beyond
Examples given of iconic buildings and projects and their economic impact
e.g. Tate Modern, Gateshead Quays, Capital of Culture
However the ‘Bilbao effect’ is possible, where the benefits fail to trickle down
to the local residents. Sustainability is built by not relying on flagship events
and buildings, e.g. as at Barcelona.
Value also of regional and rural regeneration.
Consultation
document
(summarises
the evidence of
the DCMS
document
above)
P20 Sense of Place
Examples of the impact on the physical environment and sense of place e.g.
Bellenden in Peckham, Bournemouth Library.
Arts Council England Contemporary Visual Arts: Table of Sources
18
Changing attitudes to built environment: CABE/MORI poll 2002 found 81% of
people were interested in how the built environment looks and feels
Value of mixed use developments e.g. Brindleyplace
Growing presence of artists on planning design teams
Growing public expectation that projects will feature public art.
P30 Delivering for Communities, with Communities
Role of culture in increasing social cohesion, reduction of crime, building
individual capacity
E.g. West Yorkshire Playhouse outreach, Bradford Museum of Photography,
Film and TV
P36 making the Economic case
Includes
 Increased inward investment
 Higher resident/visitor spend
 Job creation
 Employer location/retention
 Diverse workforce
 Examples:
 Manchester Museum of Science and Industry
 Seaside towns initiative
 Hoxton
 Nottingham Lace Market
Creating
Places
speech
Peter Hewitt,
CEO, ACE
8-Jul03
Artists’ studios can be
 Workspace
 Selling space
 A networking hub
 A regeneration catalyst
But ‘artists should no longer be victims of the renewal process which they
help to initiate’
Speech to
Creating Places
conference,
Tate Modern
Arts Council England Contemporary Visual Arts: Table of Sources
19
Survey of recent England-wide studio initiatives.
Arts Council England Contemporary Visual Arts: Table of Sources
20
Table of Sources – North West
Name of
Document
Author /
Organisation
Intro
Jack Hale
ducing
Manchester Craft
& Design
Date
Content Summary
Type of
Document
June
2004
The tenants of the Manchester Craft and Design Centre, which provides
studio/workshop/retail space and exhibition opportunities for craftspeople and
designer makers in central Manchester, devised a 20 year vision (inline with
the City Councils promotion of the redevelopment of the Northern Quarter
(NQ) as a cultural quarter for the inner city of Manchester). This resulted in a
new organisational structure which sees the co-operative model replaced
with a not for profit company-limited by guarantee and a new board of
directors. MCaD potential aims are to:
Background
notes for
meeting with
Manchester City
Council Cultural
Strategy Group
& ACE



Attract/support/retain/develop/promote work of high-quality artists, crafts
people and designers in Manchester
Acquire freehold of the existing building from City Council and improve it
Acquire other suitable properties in NQ for existing or relocating
individuals
Enable provision of suitable/relevant services such as: Marketing and
promotion; Facilities management; Information – online info etc; Networking;
Business support; Education and continuing professional development;
Exhibition and conferencing; Retailing/catering; Financial; Residential
provision; Childcare.
Media
Arts North
Initiative
(MANI)
Karen
Gutherie for
the Arts
Council
FebDec
2004
The Arts Council England having recognised the ‘growing reputation’ of
media arts in the North East, North West and Yorkshire (The North)
commissioned a ‘Lead Advisor’ (Karen Gutherie) to facilitate capitalisation of
this growing reputation by the process of inter-regional collaborations.
Strategy paper
for Media Arts
Development
across
Arts Council England Contemporary Visual Arts: Table of Sources
21
England
Consulting key media arts organisations and free-lancers from Yorkshire, the
North West and the North East over three meetings the following three areas
for capitalisation of growth and inter-regional collaboration emerged:
Innovative Distribution; Audience Development and Interpretation; Curatorial
Dialogue.
Yorkshire the
North West and
the North East
Page 13 – 17 - Innovative Distribution
 Rationale: based on: current inadequate opportunities to tour the North;
acknowledgement of the value of developing the regional audience and
regional distribution network; The North’s festivals vital to new work but
collaboration co-production and co-commissioning still rare; The North’s
RFO’s could develop new technological solutions in partnership with
smaller organisations.
 Projects: Media Lounge Network
Page 17 -21 – Audience Development and Interpretation
 Rationale: based on: The North has particularly active audiences existing research ‘Audience Yorkshire’; Existing interest to develop
audiences through creating understanding of media arts; Region has
individuals and organisations interested in the contextualisation,
interpretation and broadening of access of media arts.
 Projects: - Media Relations Project; Grow your Own Media Lab Project
(GYOML);
Page 24 -28 – Curatorial Dialogue
 Rationale: based on; Lack of resources within media arts organisations for
curatorial purposes but The North has a number of organisations with
curatorial expertise which could be shared; Effects of this deficit in
curatorial dialogue affects both individuals and quality and interpretation of
the work in the region.
 Projects: Curatorial Mentoring Programme; Networking Events/Symposia
(3).
An MA in
Beryl Graham
2004
Proposed by FACT and in association with the Culture Campus this report
Research
Arts Council England Contemporary Visual Arts: Table of Sources
22
Curating
New
Media Art
for
Liverpool
For Arts
Council
England North
West
reviews the feasibility of a new MA in curating new media art.
This report surveys resources, compares with relevant existing MA models,
makes initial indications of competition and market as well as potential
problems. However while it does make recommendations it does not propose
content for any resulting MA course.
Report
(Interesting is the reference made to a ‘presentation review’ planned by ACE
2004, Marjorie Allthorpe-Guyton, “concerning curating education in general” –
the findings of which “are likely to be of interest to those planning this
proposed course”.)
Interesting also is that The University of Sunderland had in development,
during period in which research was conducted, a new MA in curating which
could include an optional module in curating new media art – but not a
specialist course.
Through 5 case studies the relationships between education and arts
organisations, as well as different funding structures are reviewed. The
Liverpool context is then examined. Existing and possible strands of funding
are reviewed as well as possible partnerships. Questionnaires were
constructed to obtain indications as to existing patterns of demand for
curating qualifications in relation to new media exhibiting.
In conclusion the following recommendations were made:
 Proposed course should take advantage of the current ‘gap in the market’
 May be necessary to choose two collaborators to ‘own’ the MA course
 Liverpool should proceed with proposal, but course must be outward
looking and international in scope.
 High Status course requires regular additional funding of - ACE suggested
 Research has revealed adequate evidence of demand for the course
Manchester
Arts Council
England North
2004
Identifying a steering group which is led by the Manchester City Council, this
document outlines the consultation and discussion process which resulted in
Report of
Consultation
Arts Council England Contemporary Visual Arts: Table of Sources
23
International
Centre of
Excellence
for
Fashion
and
Textiles
West
making a case for an International Centre of Excellence for Fashion and
Textiles based in Manchester.
The document outlines 7 options which were proposed and discussed – each
relating the re - housing of Manchester City Galleries ’Designated Costume
Collection’ to existing strategies in Manchester (NWDA Culture and Tourism,
Manchester Knowledge Capital, Urban Regeneration and Economic Policies,
Higher Education, and NWDA’s objectives for Textile and Creative
Industries). The options discussed range from relocating the collection to the
centre, to public and trade showcasing of collection or creating a Centre for
Excellence in Conservation by consolidating and exhibiting various
collections.
process
preceding
tender
Brief for
feasibility study.
As a result of this consultation process a tender document was created by
the Arts Council England North West for a: Feasibility Study for he
Establishment of an International Centre of Excellence for Fashion and
Textiles in Manchester.
Northwest
Design
Forum
Phase 1
Report
David Smith
and Barney
Hare-Duke
For Liverpool
Design
Initiative
Nov
2003
Report outlines phase one which consists of two forum workshops held in
September 2003 (see workshop 1 as above). In this phase the sector was
defined, issues sector was facing were established and the process of
mapping interventions started.
Report on first
Phase
Interventions focused on four issue areas: Education; Skills development;
Business development; Market development. Conclusions included:
 More communication and collaboration between and within organisation
would have an immediate and positive impact on the awareness, over-lap,
take up and sustainability of interventions.
 There is no regional focal point or BIG idea for (the development and
marketing) of the Northwest design sector.
 The Designer-Maker segment is more mature than the other three design
service segments in terms of interventions.
Arts Council England Contemporary Visual Arts: Table of Sources
24
Northwest
Design
Forum
Workshop
David Smith
and Barney
Hare-Duke
1 Report
For Liverpool
Design
Initiative
Open
Studios in
Cumbria
Andy
Mortimer, Arts
Educational
Services
For Arts
Council
England,
North West,
and Cumbria
County
Council,
Sept
2003
This report documents the Design Initiative’s objective (to strengthen the
supply of and grow the demand for Northwest design) and strategy (3
phases).
Northwest
Design Forum
Workshop 1
Report
The workshop introduced the partners and their perspectives, gave a
definition of the
Design sector, and divided the Design disciplines into: for Manufacture; for
Communication; for Physical Environment; for Lifestyle. Issues were listed
relating to: Education; talent; prof development; agencies; marketing; funding;
supply chain; collaboration; market knowledge; channels to market; business
development; knowledge exploitation;
JanJune
2003
The report considers the strategic development of open studios in Cumbria,
in line with the County’s ‘Cultural Strategy’ and Arts Council England, North
West’s ‘Creative Industries Policy’ to propose ideas for beneficial, sustainable
and collective action.
Research &
development
report
Findings:
 Arts Council, the County Council and other local and regional agencies
have an important role to play, and need to be proactive in supporting the
development of open studios
 Precise form of support requires further negotiation between artists and
funding bodies but three key features would seem essential to progress
the effectiveness of open studios and arts festivals in Cumbria:
 Needs to be some form of direct, country-wide support for all the groups in
order to foster networking, explore areas of common concern and develop
further marketing and publicity opportunities.
 Needs to be continued identification of the ongoing and changing
professional development needs of both individual artists and studio
groups and the brokering of training opportunities to address these.
Arts Council England Contemporary Visual Arts: Table of Sources
25

There needs to be support for the provision of an arena for critical debate
within the wider open studio and visual arts community to encourage a
real sense of engagement with not only local issues but regional national
and international development.
The case is consistently made for the importance of exhibition/presentation
via Open Studios for artists.
Page 3 – The National Picture: outlines importance of Open Studio’s for sale
of work
Page 4 – Open Studios in Cumbria: outlines Cumbria’s Open Studio’s and
figures
Page 7-8 – Conclusions: Concludes that Open Studio’s
 Need to bring their aspirations inline with key support agencies policies,
criteria, targets, etc
 Need to link into existing programmes
 Require further research into improved sale of work at and beyond Open
Studios
 Are open to forming a ‘federation’
Page 9 – Recommendations:
 Recommended that a ‘Federation’ of Cumbrian open studios be formed to
network studio groups and to consider strategic issues and other matters.
 Recommended that funding be sought immediately to appoint an ‘Open
Studios Facilitator’ to convene the meetings of the ‘Federation’ and
undertake the support functions identified in this research.
Graduate
Retention
Liverpool
2002
Heidi
Reitmaier
Commissione
d by the
Liverpool
2002
The research component aims to understand and present detailed reasons
for the departure of fine art graduates from Liverpool considering Liverpool’s
growing arts and cultural provision and focus. Strategic objectives addressed:


Research
document and
strategic action
plan
The shape/context of the arts community in the region, UK and Liverpool
Possible reasons for graduate migration
Arts Council England Contemporary Visual Arts: Table of Sources
26

Biennial of
Contemporary
Art on Behalf
of the Visual
Arts Group

Build on the creative partnerships between the various arts organisations,
institutions and other sectors in the city
Programmes and action plan that could stimulate interest and ensure
greater access to arts opportunities for graduates in the centre.
Page 5-7: Liverpool (along with Manchester) a ‘Hub for culture and the
economy in the region’; NWDA’s strategy for the region focuses on culture
and skilled people; Liverpool’s City Council looks at new development in ‘key
industrial sectors’ which are leisure and culture, as well as talent retention.
Page 11-14: SWOT – strengths include many new venues, growing
infrastructure, long-term investment and partnerships; weaknesses include
lack of resources, lack of long-term strategy and growth, lack of
communication, perceptions of artist not in line with contemporary artist, lack
of transferable skills, lack of work and living space.
Page 24- 33 - Proposals for action – 4 strategic objectives for gradate
retention;
 Ensure future professional development and support opportunities for
local graduates
 Increase commitment, communication and build on the visibility of local,
regional, national and international arts projects and artists within
Liverpool and to promote local artists elsewhere
 Increase creative and innovative partnerships amongst the public and
private sector
 Increase long-term commitment and growth through the current plans of
regeneration and change.
Greater
North
Curatorial
Developm
Antonia Payne
1998
Commissioned by what were the Regional Arts Boards (RBA’s) of the Greater
North band – North West Arts, Northern Arts, and Yorkshire & Humberside
Arts – this document evaluates the Greater North Curatorial Development
Programme and puts forward proposals for future programming.
An Evaluation of
Activity 19951997 and
Proposals for
Arts Council England Contemporary Visual Arts: Table of Sources
27
ent
Programm
e
Future
The Primary aim shared by all three RBA’s was a focus on practising curators Programming
to raise standards of the provision of contemporary visual art across the
1998-2001
Greater North. Group travel and research was hailed as successful
(highlights include India) while individual travel and research grant
applications were assessed as disappointing – however continuation of all
travel and research grants was recommended. The requirement of supported
collaborations to contain a partner of each of the RAB regions was said to be
unviable and advised this be dropped. Reasons curators gave for not
responding to travel or research grants are related to the ambiguous
processes and demands of applications. Though curators were
unenthusiastic about the possibility of mentoring and placements, artistcurators expressed interest, it was recommended that when/if resources
became available this occur within RAB regions. Lack of curatorial
confidence was seen to be an obstacle to networking and pairing schemes
were recommended.
The document advised that the programme should consider additional ways
in which it can increase curator access to information about events and
develop within the regional national and international visual art worlds –
suggesting use of the internet and the Regional Arts Pages website. Acting
on curator interest in conferences and colloquia was recommended
especially as satellite activity could raise the profile of the Greater North
venues. It was also recommended that the Greater North RBA’s approach
ACE to establish an annual forum for information sharing in the interests of
national curatorial development.
Arts Council England Contemporary Visual Arts: Table of Sources
28
Other Documents Received – North West
Name of
Document
A
Snapshot
of the
Creative
Industries
in
England’s
North
West
Creative
Industries
in
Cumbira
Author /
Organisation
Date
Content Summary
Type of Doc
Marc Collett
and Burns
Collett
Sept
2004
Document prepared by Culture Northwest for the Department of Culture
Media and Sport which describes: the region, the sectors, the impact of the
creative industries sector, sub-sectors with potential for growth, NWDA
prioritised sub sectors, gaps in research to support creative industry
development, strengths/characteristics, constraints, etc. Many Northwest
organisations active with the creative industries are cited and discussed.
Discussion
Document
Apr
2004
Part-financed by ACE NW this report was for Cumbria County Council and
the County LADAs (Local arts development agencies). It collects and
analyses existing economic data, new data illustrating business performance
of the sector and qualitative date/info of the needs of the sector. It asses
potential areas of growth and intervention within the sector and provides
comparisons with other similar/rural areas in the NW. The Final report would
hope to serve as an aid to all public server partners in Cumbria, while the
process will have developed the existing database of creative businesses in
the County. Proposals would be made for future structures for collection and
analysis of data.
Evaluation of
Creative
Industries in
Cumbria
2004
The Report establishes that the scheme works: it has been tested and
provides a growing number of highly motivated graduates; has created a
network of stakeholders and partners, and reinforced their strategies; has
given undergraduates an understanding of setting up in business; has status
as a Crafts Council scheme; is needed and should continue.
External
Evaluation of
Setting-up
Scheme
For Culture
Northwest
Positive
Solutions
Draft Final
Report
The Next
Barney Hare –
Move:
Duke Jeremy
Evaluation Theophilus
Report
2004
Arts Council England Contemporary Visual Arts: Table of Sources
29
Northwest
Design Opportuni
ties to
grow and
develop
the
regions
design
sector
David Smith
and Barney
Hare-Duke
Dec
2003
The document sets out the findings as discussed in the workshop 1 and
phase 1 reports
Presentation
document
Regional
Crafts Council
Photostor
e
Evaluation
Report
2003
Document forms part of the Crafts Council’s continuing evaluation of the
provision of Photostore and its services.
Evaluation
Report
North
Bryan
West Arts Edmondson
Board –
Setting Up
Scheme
an
Evaluation
1999
Evaluates interest in and impacts of the Setting up Scheme in the North West
after having been implemented 6 years earlier.
Evaluation
Report
For Liverpool
Design
Initiative
Table of Sources – London
Arts Council England Contemporary Visual Arts: Table of Sources
30
Name of
Document
Author /
Organisation
The
Whitechapel
Economic Gallery
Impact of
the
Whitechap
el Project
Date
Content Summary
Type of Doc
July
2005
The Whitechapel Project involves increasing the size of the galleries and
project spaces at the Whitechapel Gallery, improving access and removing
the need for closure for installation, installing a street front café and bar,
extending opening hours, and increasing facilities for the education
programme. The Project is due for completion in 2008.
Draft report
This report estimates the impact will







transform the gallery from a business with £2m turnover to £2.9m, and
increase of 45%
have an impact on the economy of 60%
increase footfall by 30% from 199,000 to 239,000 per year
increase floor space by 78%
have an annual impact via visitor spend of £10-15m, mostly spent in the
locality
reinforce the reputation of the Whitechapel Gallery as a major public
exhibiting institution
Fortify the role of the Whitechapel in drawing visitors into the East End.
The potential is currently being explored for public realm enhancements,
including the possibility of branding the surrounding Spitalfields area as a
Cultural Quarter, and installing public art in front of the Gallery.
Arts Council England Contemporary Visual Arts: Table of Sources
31
Energy
and
Overspill:
Artist-led
Spaces in
London’s
East End
Peter Suchin
July
2005
Development of artist-led gallery or project space over last 15-20 years in
east End.
Initially confined to Hoxton, now spreading to Hackney, Bethnal Green Rd,
and Spitalfields.
 clustering allows them to draw on established audiences, and to coordinate open nights, share resources and advice
 ends the distinction between artist and gallerist.
 required a shift in perceptions from the anti-commercial artist to the ‘artistentrepreneur’ which started in the Thatcherite 80s with YBAs (Young
British Artists)
 capitalise on a new breed of collectors, young businessmen and women
Article in Artists
Newsletter
Characteristics:
 most do not show their own work (described as ‘vanity galleries’)
 most are non-commercial
 use email to keep marketing costs to a minimum
 often shoe-string finances, some ACE funding
 often adventurous programming
 allows newer artists exhibition time and established artists ability to show
without commercial pressures
Arts Council England Contemporary Visual Arts: Table of Sources
32
The
Economic
Impact of
the
Cultural
Sector in
Hackney:
final
report
BOP for
London
Borough of
Hackney/Hack
ney Cultural
Forum
Feb
2005
The cultural sector in Hackney accounts for roughly 10% of employment in
the Borough and almost 13% of businesses. Of these,
Research report
Page 6 visual arts accounts for 2,200 employees, in 430 enterprises with total
turnover of £92.5m (including design). This represents 28% of the whole
Hackney cultural sector (slightly higher proportion than London as a whole.)
Page 9 visual arts (excluding design) accounts for 9.7% of cultural sector
employees (460), 4.8% of enterprises (150) and 2.1% of the sector’s turnover
(£12.5m).
Page 11 the sector is dominated by micro-enterprises (86% of enterprises)
reflecting Hackney employment patterns generally).
Page 13 geographic patterns: cultural enterprises most heavily concentrated
in the southern tip of the borough, in Shoreditch, in postcodes EC2 A3, NI 6,
NI 7, E2 8 (again reflecting Hackney employment patterns generally). Maps
illustrating this pp21-2.
Page 24 business support includes Geffrye Museum training and nurturing
freelance artists (predominantly BME background); inIVA offering workspace
and business support, predominantly for women and those from BME
background.
Arts Council England Contemporary Visual Arts: Table of Sources
33
The
Economic
Impact of
the
Cultural
Sector in
Hackney:
final
report
BOP for
London
Borough of
Hackney/Hack
ney Cultural
Forum
Feb
2005
The cultural sector in Hackney accounts for roughly 10% of employment in
the Borough and almost 13% of businesses. Of these,
Research report
Page 6 visual arts accounts for 2,200 employees, in 430 enterprises with total
turnover of £92.5m (including design). This represents 28% of the whole
Hackney cultural sector (slightly higher proportion than London as a whole.)
Page 9 visual arts (excluding design) accounts for 9.7% of cultural sector
employees (460), 4.8% of enterprises (150) and 2.1% of the sector’s turnover
(£12.5m).
Page 11 the sector is dominated by micro-enterprises (86% of enterprises)
reflecting Hackney employment patterns generally).
Page 13 geographic patterns: cultural enterprises most heavily concentrated
in the southern tip of the borough, in Shoreditch, in postcodes EC2 A3, NI 6,
NI 7, E2 8 (again reflecting Hackney employment patterns generally). Maps
illustrating this pp21-2.
Page 24 business support includes Geffrye Museum training and nurturing
freelance artists (predominantly BME background); inIVA offering workspace
and business support, predominantly for women and those from BME
background.
Arts Council England Contemporary Visual Arts: Table of Sources
34
Energy
and
Overspill:
Artist-led
Spaces in
London’s
East End
Peter Suchin
July
2005
Development of artist-led gallery or project space over last 15-20 years in
east End.
Initially confined to Hoxton, now spreading to Hackney, Bethnal Green Rd,
and Spitalfields.
 clustering allows them to draw on established audiences, and to coordinate open nights, share resources and advice
 ends the distinction between artist and gallerist.
 required a shift in perceptions from the anti-commercial artist to the ‘artistentrepreneur’ which started in the Thatcherite 80s with YBAs (Young
British Artists)
 capitalise on a new breed of collectors, young businessmen and women
Article in Artists
Newsletter
Characteristics:
 most do not show their own work (described as ‘vanity galleries’)
 most are non-commercial
 use email to keep marketing costs to a minimum
 often shoe-string finances, some ACE funding
 often adventurous programming
 allows newer artists exhibition time and established artists ability to show
without commercial pressures
Arts Council England Contemporary Visual Arts: Table of Sources
35
London
Creative
Industries
Snapshot
Key
Questions
on
Regional
Impact
BOP for
DCMS
Dec
2004
Overall
Creative industries contributed £21b to London’s GDP in 2000, greater than
any other sector except business services. The UK’s creative industries are
concentrated in London: London’s creative industries represent 25% of the
sector across the UK.
Data summary
The sector has faster growth than any other sector in London at 8.5% pa.
Advertising, architecture, art and antiques, film and photography, software
and computer games all showed particularly strong growth rates.
Employment
Creative industries directly employ 468,700 in London and a further 182,000
are employed in other industries in creative jobs. Creative industries are the
third largest employment sector in London and contributed one in five of
London’s new jobs from 1995-2000.
The sector is characterised by a high number of SMEs (employing fewer than
50) and micro-enterprises (employing fewer than 5).
Regeneration
There is evidence that creative industries contribute to the regeneration of
specific areas such as Hoxton, with little public sector intervention.
There will be creative industries initiatives in all new major LDA initiatives
including the Thames Gateway, City Fringe, Stratford, and Lower Lee Valley.
Social inclusion and diversity
The proportion of workers of BME origin working in the sector is, at 11.6%,
roughly half that of the London workforce as a whole.
Women are also underrepresented at 36% of the creative industries
workforce, compared to 45% of the overall London workforce.
Potential for growth
Growth
4.5%ofover
the medium term is thought to be sustainable. Much
Arts Council England Contemporary Visual
Arts:ofTable
Sources
potential growth lies in specific sectors, particularly computer software, film
and video, music, interactive leisure software, design and designer fashion.
36
Creative
hubs
leaflet
Creative
London
-
Creative Hubs are an initiative of Creative London, providing
A space for work, participation and consumption of creative products
Nurturing for emerging talent and support for businesses
Introductory
leaflet
They have 4 main areas of focus:




Talent: enabling, nurturing and training emerging talent, leading to
employment and enterprise opportunities
Enterprise: Business support, investment readiness, access to finance
Property: Access to appropriate and affordable workspace across the
creative business lifecycle
Showcasing: Promoting London’s creative businesses, from the local to
international level, and supporting export activities
And they often invest in and boost the work of existing community bodies that
have the necessary track record and ambition.
London’s
Creative
Sector:
2004
Update
GLA
Economics/LD
A
2004
Page 1 summary London has 40% of creative industries jobs, growing faster Research report
than any other industry except financial and business services. Data is not
broken down sufficiently to identify visual arts.
Arts Council England Contemporary Visual Arts: Table of Sources
37
Oranges
and
Lemons
and
Oranges
and
Bananas
http://www.
artistsineastl
ondon.org/e
ssay/index.h
tm
ACME
2001
History of artists in the east of London 1960-2000
Essay
Charts the need for artists in the 1960s to get new studio space because of
1 rising rents in central areas of London
2 Changing practice leading to the need for larger spaces leading to
SPACE applying for funding in 1968 for money to develop St
Katherine Dock as artist space, followed closely by ACME who
developed cheap short life housing and studio space for artists in east
London.
Whitechapel Open numbers applying grew 1960-70s showing growing
number of artists in east, and following that growing amounts of exhibition as
well as production.
Importance of Whitechapel Art Gallery as focus for local artist activity
especially under Nicolas Serota 1976-88.
Development of galleries directly linked to studio organisations such as Matt’s
gallery (at ACME). Chisenhale established by artists.
Role of Freeze exhibition 1988 which launched Brit Art and numbers of that
generation of artists living /exhibiting in the east of London.
Arts Council England Contemporary Visual Arts: Table of Sources
38
Creative
and
Cultural
Industries
in
Newham
Newham
Council
June
2000
Now somewhat out of date.
Research report
P6 Visual arts/crafts/design – 225 artists and companies identified, mainly
centred around Stratford in artists’ studios and Stratford Workshops. Key
issue is finding low cost supportive premises with other creative individuals.
P8 Stratford town centre identified as a key location and ‘vibrant cultural and
urban quarter’ with theatre as well as visual arts. 2 large studios:
Waterhouse Studios and Stratford Workshops.
P12 SWOT analysis identifies weaknesses as
 the perception of Newham as far from central London
 lack of affordable studio and workspace
 perception of an unpleasant and unsafe environment
 opportunities include
 potential for artists moving east for cheaper premises




appendix 1 survey of artists and designers
most located in Newham for cheap accommodation
poor image of borough
nearly half saw development of Stratford as a strength
Arts Council England Contemporary Visual Arts: Table of Sources
39
Arts Council England Contemporary Visual Arts: Table of Sources
1