My first regular job in the arts was as a zero-hours gallery attendant. Now I have the fancy job title of Creative Director, having done quite a few roles in between, including being a volunteer and a freelancer. Starting off around the peak of the ‘boom’ in the 2000s when money flowed into the sector, through the worst of austerity and to today’s mixed but still uncertain times. In my career, I’ve also seen many different types and styles of leadership and management. This mixture of experience, along with having had opportunities for various forms of training and development in my career, I think has made me better equipped for my current role.
During the same period, I’ve also witnessed a seemingly ever growing focus on leadership in the arts. This is something which I do think has been necessary. As the sector expanded and diversified and the operating environment became more complex, cultural leaders having training and skills beyond academic art form knowledge has become increasingly important. Especially given the challenges that many organisations have faced, high profile and otherwise. Speaking to older colleagues about their experiences in the 1970s and 80s in cultural organisations, challenges with management in the sector seems to have been an issue going back a long way and this new focus does seem to have improved things. In addition, programmes which seek to increase the diversity of leadership in the sector continue to be vital. As the first in my family to attend higher education and having spent my youth living on my father’s disability benefits, active work to ensure a diversity of voices is heard in the arts is something I am passionate about.
However I have also become concerned that the sector may now be placing too much faith in leaders and the chimerical concept of leadership as being able to solve all the challenges cultural organisations face. This is something I considered when researching whilst on the Arts Fundraising and Leadership programme. Good leadership is important and can help organisations through changes and challenges, but it isn’t a panacea. In a sector struggling to simultaneously deal with big funding cuts, education system changes, huge regional disparities, increasing societal deprivation, major cultural shifts and growing political turmoil, leadership alone will not solve all problems we face.
Individuals can only do so much, even with progressive styles of management, and this focus on leadership can create unrealistic expectations and encourage constant churn in the sector. Suitable financial support from different sources, actively working to increase diversity, collaborative working inside and outside the sector and, crucially, ensuring personal development opportunities are available at all levels are just as important. These things may need to be led, but we need to think beyond leadership if we want to create a vibrant and resilient artistic ecosystem that can deal with inevitable shocks and changes.
We need to continue to develop leadership and management in the arts, especially different styles and methods that suit different types of organisations. Yet this has to be part of much wider and long term support and development for the arts sector if it is to be sustainable and better reflect the diversity and talent of creative voices in this country.
Over the last 30 years, the once fringe interest in the role and impact of art and culture in cities has become a huge area of mainstream focus. In particular its relationship to gentrification occupies the thoughts of many columnists and policy makers, artists and activists.
Gentrification has been most apparent in the cities that ‘succeeded’ most in the transition to a post-industrial urban world. Especially London and New York which have seen once deprived areas become enclaves of the wealthy at an ever-increasing rate. While this is down to a complex combination of factors, the not insignificant role arts and culture can play in gentrification been well documented. Such has been the expansion of gentrification processes that both London and New York risk eating themselves, as they become increasingly difficult to live in for anyone but the extremely well off.
The gentrification of these cities has been examined intensely because of its scale, but perhaps even more so because of the huge concentration of those in media, academia and the arts in London and New York and the impact it has had on the lifestyle of people in these sectors. What this has perhaps masked though, are the equally important issues around arts and culture in places that are the flipside to such overheated cities, the far greater number of under-resourced cities.
When industrial decline in the West really kicked in from the 70s onwards, it impacted most on certain specific areas in an extreme way, such as my native Merseyside, or Glasgow. These could be written off by many at the heart of power as ‘localised failures’ whose decline was their ‘own fault’ for ‘failing to adapt’.
40 years later, what is clear is that places like Liverpool and Glasgow and Detroit were the canaries in the mine, as post-industrialisation and its impacts have spread across more and more places. In the UK, outside of the increasingly island-like South East, economic stagnation in the norm, save for odd spots often relying heavily on success in specific industries such as Bristol (defence) and Aberdeen (energy) which themselves may well slump and impact such places.
Outside of London, gentrification connected to the arts has had a less dramatic effect. One impact being that residential areas which have traditionally been popular with artists, public administrators, lecturers and the like, such as Didsbury, Jesmond, Stokes Croft, Aigburth and Chapel Allerton, are no longer affordable to them. So this section of society has started to move into neighbouring often more deprived areas and house prices have begun to rise in therm. This effect though has been largely localised to very specific areas. New suburban housing built on the edges of cities is still more popular with the majority of the middle class in regional cities than most inner urban areas, nothing like the changes in London.
There has also been some impact on space for artists’ studios; music venues etc, being priced out of once abandoned industrial space for apartments, a recent example being Manchester’s Rouge Studios. Long term leases for such buildings are also harder to come by than they once were. However, in general, artists finding space, either residential or for the creation and display of the arts, is much less of an issue in the regions than in big and capital flushed cities. The far greater challenge that remains and in some ways grows for artists in the regions is being able to sustain a creative practice or organisation in such under-resourced areas.
While never easy, with the focus and the money always being on London, the ever-declining local authority funding for arts and culture, coupled with the closure of publicly-supported venues such as theatres, museums and arts centres, as well as the reduction in the number of traditional ‘second jobs’ for creative practitioners such as FE college lecturers, threatens far more the future of the arts and those practicing them in the regions than issues with the property market. With these local economies long having lost the core engines that gave them money to invest in culture now followed by the government cutting off support, this is not likely to get any easier.
There has slowly, after much campaigning, been a recognition of the imbalance in central government arts and media funding and resources and this is changing, but not nearly on the scale, reach or depth needed to make a significant lasting difference. There has been a focus on one or two government-favoured cities and investment often sporadic and patchy.
Of course, my focus on the arts is just one part of a much bigger issue – the huge regional economic and power imbalance in the UK, but it is a useful exemplar and something that could help create change in under-resourced areas.
In a different era in the 1950s and 1960s, when areas like Wales, Scotland and Merseyside faced economic challenge, a decade’s long programme of investment was directed towards them, with companies effectively forced to invest in less prosperous areas. While this was imperfect, it did in many respects create economic drivers which are still powering these areas to this day, such as the hugely successful Jaguar Land Rover factory in Halewood on the edge of Liverpool. A relentless focus on regional development on the scale seen in that era is what is needed to change the crippling imbalance in the UK, which has now started to eat away at London through its overheating as much as it has done in the regions for years.
Coming back to the arts. In the regions, a lack of opportunities and finance is more of an issue than overpriced space. In London, there’s a plethora of opportunities and no space. The solution is as simple as it is obvious. Undertake a long term, large scale sustained investment in arts and culture in the regions. There’s likely to be resistance, such as recently highlighted around Channel 4’s suggested move out of London, but at this stage it should be a win-win. London is so economically overheated its arts and culture are being undermined, while in the regions, economic stagnation and cutbacks are undermining arts and culture there. The small scale shifts in cultural policy and funding allocations over the past year or so have been a start, but what’s needed is a much bigger and longer term plan to direct cultural investment and activity away from the capital. And indeed, what’s important for the creative sector is important for many other fields as well.
Would a government want to plan that far ahead and commit to that level of investment and change? Evidence from the last couple of decades would suggest no, but further back there is a precedent. In these turbulent times it’s increasingly accepted, even demanded that big change is needed across the country. Such a large scale regional cultural investment plan would be a good start.
This piece was published by New Statesman CityMetric in September 2017.
The potential removal of Liverpool’s World Heritage Site status by UNESCO has put into sharp relief the challenges the city faces.
This threat stems from the Liverpool Waters project for the old northern docks; a mixed used development involving historic restoration and new builds on a large scale. UNESCO is unhappy with the sightlines and heights of some of the proposed buildings.
That this issue has been hard to resolve is symptomatic of the city’s difficulties. It has a beautiful architectural legacy, but has a small tax base, is heavily dependent on shrinking external grants, has high levels of poverty and a fragile economy with low demand for property. Liverpool needs money to restore and maintain its old buildings. With little public money available now, this has left the city heavily reliant on developers who want a return. If the city doesn’t work with them, it faces these structures continuing to rot, especially as in case of Liverpool Waters they cover a vast acreage and are largely in ruins, since being abandoned by the old dock company in the 70s.
Few critics acknowledge this difficult context, with much of the national commentary on this issue marred by thinly veiled contempt. The kind of patronising the city has sadly become used to over the years, from people keen to twist the knife but with few actual solutions to offer.
As someone who can well remember decaying streets even in the city centre as recently as ten years ago, it’s clear that Liverpool is getting better at looking after its historic buildings despite the challenges it faces. From the semi-abandoned 1930s Royal Court Theatre being turned into a thriving venue and the brilliant restoration and extension of the Central Library, to Calderstones mansion being renovated into a centre for reading and plans well underway to convert the Art Deco Littlewoods Pools HQ into a film studio, I could go on. Indeed, Liverpool was given ‘Heritage Role Model’ status by Europe. Even controversial Liverpool Waters got a prize at the Historic Bridge and Infrastructure Awards.
Of course, the picture is not all rosy. The city has also seen a raft of poor quality development schemes thrown up by speculators. With Liverpool especially vulnerable due to the issues outlined above along with planning law and planning departments becoming so weakened in recent years.
Liverpool is too big and has too much poverty to rely on its heritage entirely like Bath or Saltaire and, to give its young people real opportunities, it needs significant economic development. Yet its heritage is a big asset that people are passionate about. Must the city go in one direction or the other? Sadly we seem to be heading that way with UNESCO issuing final warnings and the Council losing the will to keep the status. Dresden faced a similar situation a few years ago. Like Liverpool, the city suffered economic decline and de-population, but it was buoyed by a new VW factory. A new bridge was built to relive congestion, provoking the ire of UNESCO and Dresden lost its World Heritage Status. Interestingly, tourism increased in Dresden the year after the status was removed. UNESCO meanwhile has demonstrated inconsistency on this issue. London built a pile of glass towers adjacent to its World Heritage Site at Tower Bridge, at which UNSECO “expressed concern” but did little else.
A compromise can and should be found in Liverpool. Money needs to be found from somewhere to restore buildings in the northern docks and find uses for them that help the local economy and population. The most likely thing that could tip the balance would be a large injection of public funds and UNESCO et al should be pushing for this rather than bashing the city. With a range of local bodies, not just the Council, having more money to restore and develop things, Liverpool would be less trapped between speculators or decay.
Some powerful redevelopment projects have been undertaken in Liverpool with Community Interest Companies and Community Land Trusts, however they have been hampered by lack of funds and control of only small areas of property. With the right financial support, these could be expanded, or other interesting models explored. In Havana, another World Heritage city with little money for preservation, the state-sponsored Habaguanex has done good work developing crumbling buildings into hotels and the like, but using the surplus it generates to invest in local housing and social projects in-between them. A counterpoint to World Heritage Sites becoming gentrified dead zones, as they have elsewhere.
Liverpool is capable of looking after its built heritage, sometimes innovatively so. But saving and refurbishing huge swathes of decaying structures costs serious money. Unless the national or international public purse opens, the city will face having to continue to go cap in hand to developers or leave things rotting. Then, all the lobby group statements, broadsheet articles and UNESCO motions in the world won’t save that heritage.
This piece was published by New Statesman CityMetric in August 2017.
I’ve done reasonably well career wise so far in life. I’m the Creative Director of an arts organisation, I’ve written for national newspapers, given talks in universities and at national conferences, undertaken international research.
Yet at age 11 me and many of my friends were declared to be ‘unacademic’ by the education system.
The Metropolitan Borough of Wirral in the Liverpool City Region is one of a handful of local authority areas that always retained a grammar/secondary modern system and I went through it in the 1990s. Wirral is an area of extremes, containing some of the wealthiest and poorest areas in the UK just a few short miles from each other. Now, have a guess which parts of the borough the grammar schools are concentrated?
My parents took an active interest in my schooling and asked me if I wanted a tutor to help me with the 11 plus. As a quite shy, awkward child, I expressed disinterest. I didn’t want to draw attention to myself. No one in my family had any real experience of anyone engaging in higher education. We’d mostly worked for the railway, so surely, I should do the same? The area we lived in was pretty solidly working class. Some parents did get tutors for their children as the 11 plus approached, many others though couldn’t have afforded it even if they wanted to.
Inequality isn’t always obvious when you’re a child, especially when you live somewhere that most people are in the same boat. I didn’t really know then that I lived in one of the poorest areas of the UK or understand that when we were taken by our primary school to see a submarine being launched at the local Cammell Laird shipyard, that as we waved the boat off, we were waving away the economy of our town, as it closed soon afterwards.
I could tell though that something was deeply unfair when our local swimming baths had to close due to cutbacks and a grammar school in a rich part of the borough ‘let’ our primary school use their own private swimming pool for lessons. How could an area of estates housing thousands and thousands of people and containing numerous schools lose its swimming pool, when a grammar school up the road bankrolled by the taxpayer up have one just to itself?
I have a vague memory of sitting the 11 plus. Later as an adult it was discovered that I am dyslexic, making the very narrow measure of ability that is this exam even harder. I failed like many others and we were divided up into sheep and goats. I went to a secondary modern in a slightly better off area to where I grew up. That’s right, what cheerleaders for grammar schools often forget to tell parents is that a return to a grammar system is also a return to a secondary modern system. Sure, they’ll be given a bullshit trendy updated name for this new era, but let’s translate it: the underfunded schools for the poor kids.
Paint flaked, windows were rotten, the heating didn’t work in parts, textbooks were shared as was computer equipment. Don’t get me wrong, it wasn’t cartoonishly Dickensian, just a bit crap, and after Labour got in, facilities and resources improved. Up the road though was the grand shining grammar and the feeling you just mattered less than those children was pervasive. Despite all this there were many children with talent, wit and intelligence in my school who were let down by the system.
Some teachers would tell me I was pretty sharp, but that I needed to work harder at things like spelling andgrammar (my dyslexia still not discovered) and that maybe I should go to university. I wondered though, what was the point? I was only good at things like English and History and I struggled with the writing even with them. And what jobs could you do with something like that? I knew I wanted to do something creative, but that was thin on the curriculum. University was loosely encouraged by the school, but Labour had just brought in tuition fees. I didn’t really understand it all, but by this point as a young teenager I was living off my father’s sickness benefit after he was thrown on the scrapheap after decades of working the railway, so anything involving debt was frightening and discouraging.
After school, I drifted into low-skilled manufacturing work and retail. Long, dull and hard work. Close to despair I started reading some books by local authors out of boredom. From a similar background to me, they had gone to university and done creative jobs. If they could do it, maybe could I do as well?
I was lucky in many respects. Wirral was one of the first places to get the now axed Education Maintenance Allowance which helped me. I was supported by the now decimated Connexions service into completing my UCAS application. A former teacher wrote a reference for me. In today’s merry-go-round schools, they’d probably already have moved on. My university fees were waived due to my parent’s poverty. I even got one of the short-lived maintenance grants for poor kids to top up my loan. I went to university and achieved a few things. God knows what I would have done without all the things that helped me get there. Now all long gone, taken by a government that says it believes in social mobility.
Years later I got a job in a big grand old cultural institution. One that my parents would take me to as a child and mention the important work the clever people did there. Walking up the huge steps on my first day at work I was intimidated, surely the clever people would find me out? Remember boy, you’re worth less. You don’t get to work in a grand building. It’s not for you. Clever people pass their exams….
Being labelled as inadequate at a young age stays with you. With the wisdom of confidence and age of course, I know this to be bollocks. There are geniuses on building sites and idiots teaching in universities as anyone with any sense knows. To put it more eloquently than I could as a child wondering about the injustice of that swimming pool, the difference is nearly always money and privilege, not intelligence or ability.
The other tragedy though, is it’s not just about the children who are cut off from the monied schools by a single poxy exam. Some might say my parents should have pushed me harder, but no, they did the right thing. Supported me to find my way. Despite the desperate earnestness, game playing and spending of parents who understandably want their children to do well, plenty of the kids who ‘get in’ because of parental obsession often don’t have any particular academic ability and don’t always do well once at university. This is when many young people step off the treadmill of one hoop jump exam after another and, without a parent shoving them, realise they don’t really want to be there and drop out or drift aimlessly. I’ve known just as many people who hated their grammar school they felt they didn’t really fit into or felt crushed by parental expectations they could never fulfil as who ‘did well’ from being in them. Ever more the traditionally academic, usually single sex and often monocultural grammars bear little resemblance to the outside world of work. Too many parents still haven’t yet grasped that Royal Insurance, ICI and Abbey National don’t have thousands of easy opportunities for graduates to be picked up from a ‘good’ university every year.
Yet we have this crass nostalgia from people who confuse the opportunities they were gifted having grown up in the biggest period of wealth redistribution in UK history with having been down to going to a grammar school. Given most of my family have been tradespeople, I deplore the state of technical and craft education in this country. A product of decades of indifference. Yet you rarely see the children of the politicians and journalists who say a grammar system is ‘best for all’ down the local college learning how to repair motorcycles do you? Funny that.
These cretins are threatening the future of the UK’s children not just because of their nostalgia, but beneath that, a clear, ruthless ideological mission to build new bastions of privilege for their offspring while they let everything outside rot. Don’t believe for moment in the lip service paid to ‘places reserved for poor kids’. Just like all the promises about no university fees for deprived young people, as soon as they get the legislation over the line, they’ll all quietly be axed.
No school system is perfectly fair, but some are fairer than others. The universally discredited grammar system has no place in modern Britain. Far from new ones opening, the remaining ones should be cracked open.
If there’s a reason I went through a system pretty much designed to ensure my voice was not heard in the corridors of power, it was to be able to say this: a country which does this to its children in its education system, is a country that’s more concerned with maintaining the stinking illusion of privileged superiority than with its children’s futures. And what the hell kind of country is that?
In 2016, I was awarded an Art Fund Jonathan Ruffer Curatorial Grant. This enabled me to undertake research visits to several organisations in Detroit and Chicago who are on socially-engaged art practice in post-industrial communities.
I’m originally from an industrial town in Merseyside and lived in Liverpool ahead of and during its year as Capital of Culture in 2008. Because of this, the relationship between art, artists and art organisations in areas struggling with industrial decline has always been important to me. This has very much informed the approach I’ve taken to programming throughout my career in museums and galleries. Having followed closely many socially-engaged artists and projects in the UK, I also became interested in examples of this practice in America.
The Heidelberg Project in Detroit was the longest-established initiative I visited. Begun by artist Tyree Guyton in 1986, he decided to create ‘something beautiful’ in the run-down Heidelberg Street by painting bright dots all over the house his family had lived in for generations. Soon Guyton began to decorate and modify abandoned houses in the area and then the street itself using reclaimed materials. Thirty years later the project is a world-renowned ‘total work of art’ and the home of an organisation that runs community and education programmes, exhibitions and residencies for other artists.
MOCAD, the Museum of Contemporary Art Detroit, meanwhile, is an arts institution established 10 years ago in a formerly abandoned car dealership. Notably, it’s also the base of Mike Kelly’s work Mobile Homestead.
Mobile Homestead was unveiled in 2010 and funded by the UK’s Artangel. A recreation of Detroit-born Kelly’s childhood home (which is still standing and occupied) made as a pre-fabricated building with a detachable trailer section. Kelly’s idea was that this could be transported around the city with the ground floor being a flexible community space and the basement a place for artists. Based behind MOCAD, the Homestead functions as a dedicated space to host community content exhibitions and events; everything from local craft groups to, recently, lively election debate parties.
Over in Chicago, around 10 years ago artist Theaster Gates began restoring the house he’d moved into on Dorchester Avenue. After the 2008 financial crash, he also bought the neighbouring property. Restoring it using reclaimed materials and filling it with cultural artefacts like books and records from the area, he then began to put on arts events. By 2010, he’d established a non-profit organisation called the Rebuild Foundation and had rehabilitated a housing block in the area into 32 mixed-tenure homes and community facilities, called Dorchester Projects.
A few years later, Gates persuaded the city to sell him a striking but decaying former local bank for just a dollar, providing he got the money to restore it. Amongst other things the bank now houses the archive of the important African-American publishing company Johnson, and the Black Cinema House. Rebuild’s most recent initiative is Dorchester Industries, which provides training opportunities for local residents with craftsmen and artists and sells products and services to help sustain the foundation’s work.
While all of these organisations are distinct, they are united by having a focus on the re-use of previously abandoned or underused urban space, involving communities in their activities and demonstrating a complex relationship between artist, artwork and art organisation. In the case of MOCAD, an art institution occupied an old building and with Mobile Homestead, ended up creating a semi-permanent new building as an ongoing social practice artwork. In contrast, the Heidelberg Project started out as the creation of an artwork out of buildings and has morphed into also being partially an institution. Rebuild Foundation started out as a project based around art activity in run down properties using reclaimed materials, before growing into a full-scale neighbourhood renewal project, but one that is also an ongoing artistic experiment.
The projects are not only re-purposing and re-imagining buildings and areas in a very different way to traditional urban redevelopment schemes; they’re also highlighting the continued life, activity, creativity and culture in areas often more associated in art terms with the genre of ‘ruin porn’, that seeks to portray them as empty, tragic ruins.
Art projects like the ones I visited may be partially a product of decline, but they speak as much of the potential future of these areas as their past. They may be led by complex theories and an emotional desire for continued community life, but they create outcomes that are very much concrete: housing, artspace, crafts to sell, community facilities, training opportunities.
Vital to the success of these initiatives has been a close and long term relationship to the areas in which they’re situated. Connected to this is the fact that for all the genuine community involvement in such projects, the figure of the individual artist, pursuing their vision against the odds: Tyree Guyton, Theaster Gates, Mike Kelly, remains central in a very traditional art historical sense. This raises the question of what happens to these projects when their founder moves, or indeed, passes on.
While at Rebuild, I attended one of the weekly ‘Tea, Coffee and a Chat’ meetings led by local residents and they spoke about the positive impact the foundation has had on their neighbourhood. While artefacts from such initiatives could be kept in collections or even whole districts be preserved, the people who benefit from them are perhaps their most important legacy. Can the power of this social action also be retained by these projects in the longer-term?
How the founder-artist plans for posterity will be key to this. Mike Kelly, for example, setting in stone the community use for Mobile Homestead as being part of the artwork itself has ensured the preservation of such space for ‘social sculpture’. The power in projects like this is both social and artistic, and if they can retain each aspect in the long term, they will be important parts of both future art and urban history.
This piece was published by the Art Fund in April 2017.
In the wake of Brexit and the US election, there has been renewed attention given to post-industrial areas and the issues faced by such communities. For some parts of the US and the UK, problems caused by industrial decline have been around for 40 or 50 years, long before the rise of China, the EU or the North American Free Trade Agreement (NAFTA). And, as anyone who spends time seriously with the subject will tell you, there are no easy answers or single solutions to such challenges.
So to art. Despite the breathless proclamations of some, art is not a panacea for the post-industrial town, but neither is it a total irrelevance. The creative industries remain a growing sector and a sensible solution to reuse many former industrial spaces that will never see mass production again.
Meanwhile, in some of the residential areas that once drew their lifeblood from such industrial zones, artists, or local communities working with artists, have been using creativity to demonstrate, even make, a future potentially different from top down regeneration or abandonment to decline. The now well-known Granby Four Streets project in Liverpool is one example of this in the UK.
Between Brexit and Donald Trump’s victory I had the opportunity to spend some time at some similar projects in the US. In 1986, in the Black Bottom area of Detroit – a city which perhaps more than any other felt the crushing pressure of industrial decline early on – art student Tyree Guyton decided to paint large bright dots all over the house his family had lived in for decades on Heidelberg Street.
The area had declined rapidly during his lifetime and he wanted to create “something beautiful” in the street. Soon Guyton began to decorate some of the abandoned houses in the street, using reclaimed materials from the neighbourhood. Thirty years later, despite being demolished by the authorities, twice, and suffering arson more than once, the Heidelberg Project is a world-renowned “total work of art”, and the home of an organisation that runs community and education programmes, exhibitions and residencies for other artists.
Part of the Heidelberg Project.
It’s not so much a celebration of beauty in decay like the infamous “ruin porn” from Detroit, but a sign that there is life and people still here, creativity, culture, even growth.
Chicago coped better than Detroit with the transition to a service economy. At least, some of it. In Grand Crossing in South Chicago, more than half the residents live below the poverty line. Here, around 10 years ago, artist Theaster Gates began restoring the house he had moved into on Dorchester Avenue. After the 2008 property crash he also bought the neighbouring house. Restoring it using reclaimed materials and cultural artefacts like books and records from the area, he then began to put on arts events in the houses. Gates had seen the West Side Chicago neighbourhood he grew up in demolished and wanted to stop such destruction from happening again in Grand Crossing.
By 2010, Gates had established a non-profit organisation called the Rebuild Foundation, and had worked with the Chicago Housing Authority to rehabilitate a housing block in the area into 32 mixed-tenure homes and community facilities, called Dorchester Projects. A few years later Gates persuaded the city to sell him a striking but decaying former local bank for just one dollar, providing he got the money to restore it.
Dorchester Projects, Rebuild Foundation
Amongst other things, the bank, now houses the archive of the important African-American publishing company Johnson, and the Black Cinema House. More recently the organisation has set up Dorchester Industries, which provides training opportunities for local residents with craftsmen and artists. The Rebuild Foundation places art firmly in the hierarchy of needs of a deprived community. To quote Gates: “Beauty is a basic service.”
There’s a long tradition in art of highlighting urban social problems. Projects such as these differ in using the urban fabric as a medium in itself and working on the regeneration not just of buildings, but of social, cultural and economic life in these areas. Crucial is how these projects have been led by people based in these communities, albeit interacting with international art networks. Such initiatives may have only impacted on relatively small areas – but it is possible they have done more to change life in and perceptions of them than many bigger and more expensive top-down urban redevelopment programmes.
The Stony Island Arts Bank, a hybrid gallery, media archive, library and community center.
Part of the power of art is its capacity to highlight where we’re going wrong, to tell us things have value that we didn’t realise and point out different ways of looking at the world. Even if projects such as these can’t be reproduced like-for-like elsewhere, they’re not just a reminder to avoid writing off such communities, but more so of their potential – if energy, attention and money are given to them – to create their own future.
This piece was published by CityMetric, a New Statesman website, in December 2016. Funding for this research in Detroit and Chicago was provided by The Art Fund.
An 1880 painting by John Atkinson Grimshaw, Leeds Bridge, depicts a view of the River Aire that is still recognisable today; the heavy-duty ironwork of the bridge, the substantial brick warehouses, the bend in the river towards the church in the distance. Yet today, the riverbank that was clearly a hive of dirty industry in 1880, is now bound by offices, bars, flats and hotels.
Similarly, in Liverpool, on quaysides where ships once unloaded their cargoes, there are now restaurants, galleries and arenas. In Teesside, the modern stadium of Middlesbrough Football Club sits on the site of old chemical and oil tanks. In Castleford, West Yorkshire, a huge indoor ski-slope has been built over a former colliery. Such has been the well-worn path of the last 30 years. The manufacturing and heavy industry that dominated the landscape of the North of England being replaced by service industries and leisure sites – with art and culture related projects forming a key part of this.
What a contrast from the 19th century of Atkinson Grimshaw. In the Victorian era, the booming industrial cities of Northern England built their edifices of art and culture usually as far from the factories and wharfs that paid for them as possible. In Leeds, from the Art Gallery on the Headrow to the Parkinson Building of Leeds University, a cultural sphere was built that was firmly separated from the hive of industry down the hill around the River Aire and the Leeds and Liverpool Canal.
But with the rapid de-industrialisation in the UK from the 1970s onwards, a reversal took place which saw sites of industry turned into sites of culture. Sites expected not to just reflect the wealth and sophistication of localities as did the art galleries, museums and concert halls of the Victorian era, but rather to be the economy through generating tourism, attracting inward investment and encouraging the ‘creative’ industries. So from the Wales Millennium Centre in the old Cardiff Docks, to The Hepworth Wakefield adjacent to abandoned textile mills, Gateshead’s Baltic in a disused flour mill and London’s Tate Modern in the former Bankside Power Station, art occupies spaces once dominated by industry.
This has not been a wholly un-problematic shift though. Debates abound about the culture, leisure and service fields not providing the same number or same quality of jobs as the industries they have replaced; who can enjoy this new urban culture and who has to serve in it? Not to mention the thorny issue of gentrification; property developers frequently promote cultural activities to create buzz, increase demand and drive up prices, which inevitably pushes those with more limited means out of some areas. The question remains though, just what do you do with large areas of old industrial land once it is no longer required for its former purpose? ‘Post-industry’ a phrase though bandied around a lot is still a relatively new phenomenon. It took a long and difficult time for society to adjust to the industrial revolution and it’s likely to take just as long to adjust to the post-industrial one.
Back to Leeds, whose industrial base did not collapse in the 1980s like other cities, but which has seen a significant contraction since the end of the 1990s. One of the key closures was the Joshua Tetley Brewery, an important industrial site in the city for nearly 200 years until production ceased in 2011. The key development on the brewery site since its closure has been the opening in 2013 of The Tetley, a new centre for contemporary art and learning based in the brewery’s former Director’s Offices.
The re-development of the old brewery forms part of a much wider regeneration plan for the ‘south bank’ of the River Aire, where many other former industrial sites are in the process of being converted into new sites for education, offices, homes, and the like. Into all of this, plans are now afoot by The Tetley to bring art outside of its building onto Brewery Green, the new open space that sits on part of the former plant. The intention is that that Brewery Green will soon be home to a new major piece of public art that will be some form of ‘play sculpture’, an artwork that can be interacted with rather than merely appreciated at a distance.
I am presently Curator of Participation at The Tetley. This is the kind of job title that itself has only emerged in the post-industrial era, as not only the location and reasons for civic art and culture have changed in our contemporary urban world, how we expect citizens to engage with it has shifted as well. Once the rarefied artworks collected by diligent industrial philanthropists were guarded heavily in their grand public galleries, lest they be damaged by the citizens they had been ‘given’ to. Out of doors, bronzes of local dignitaries were maintained in public parks amongst manicured garden beds as a symbol of civic pride. Yet ‘Keep Off the Grass’ was a key part of the culture, these creations guarded just as in galleries by a diligent band of uniformed keepers. Culture of one form or another procured in theory for citizens, but often without their consent and only to be engaged with in a prescribed ‘correct’ way.
Later, in the Modernist era, despite the pretence of change, works such as Victor Passmore’s concrete Apollo Pavilion in Peterlee newtown, County Durham, despite ostensibly being more open and democratic works of art, were in practice usually just as imposed and distant from local people, with progressive ideologies falling through the cracks of patronising and bureaucratic structures. The Pavilion quickly, inadvertently, becoming an un-loved place where teenagers got drunk and vandalised, though more recently local views towards it have apparently softened.
In our contemporary era of public art there is increasingly a wider acceptance amongst the public and commissioning bodies of broader ideas, and of people’s engagement with art and culture being as important as an art object itself. From Luke Jerram’s Park and Slide turning a Bristol high street into a waterpark, Carsten Höller’s shimmering carousel works and the sheer variety of Anthony Gormley’s Fourth Plinth project in Trafalgar Square, to art collective Assemble creating a scrap playground at Baltic Street in Glasgow and people clambering around in the startlingly blue, copper sulphate environment of Roger Hiorns Seizure at Yorkshire Sculpture Park: a less precious approach to engagement with culture has developed in tandem with its relocation. Where once public artworks were made to be appreciated from afar, engaging and ‘playing with’ art in the urban environment is, in many cases, now encouraged. Just as the gallery has shifted from the pillars and marble of the past to the cleaned-up old industrial site, so to we have shifted from distanced appreciation to valuing a more robust and open-ended interaction with art in the public realm.
This shift is summed up well by Usman Haque, designer of the fountain and light installation in Bradford’s new City Park; a great shallow pool that is invaded by families on any given sunny day and that has been a key catalyst in re-imagining the centre of Bradford: “I’m interested in how the designer of a system can best support ordinary people’s creativity, by being neither too prescriptive, and therefore unable to accommodate the unplanned, nor too unspecified, and therefore giving no firm take-off points, for people to contribute meaningfully.”
Similarly, institutions like The Tetley are not merely about the display and enjoyment of art as were the civic galleries of old, but primarily focus on its creation and production. The lines between these have become blurred in the way that mirrors wider changes in urban society. Where once industry was in the centre of the city in dirty, noisy brick-built factories, today what remains has usually been sent outwards to the distant industrial zones on the edge of town. To ultramodern, clean plants sometimes deceptively quiet. Back in the city centre meanwhile, in buildings near to the old Leeds Bridge and The Tetley, restaurants and bars sit in old warehouses, people design computer games in former foundries, skateparks thrill in old engineering plants, data centres sit in redundant chapels, new colleges occupy old printworks. Yet in tandem, the growth in the likes of craft breweries, knitting groups, urban food growing and hi-tech ‘fab labs’ have seen people re-discovering the value, and fun, of making, and small scale, local production in urban centres, often led by artists.
Culture in today’s post-industrial, post credit-crunch cities is now often not only expected to be a catalyst for economic development, but to generate actual income. Yet there has been a move away from the Grands Projets of the early 2000s, of multi-million pound statement ‘starchitecture’ that was alone meant to transform areas, economies and people’s lives. Post-industrial cultural regeneration continues apace but, much as bold statements in concrete foundered as Modernism’s ideals collapsed, so too largely has the palaces of the Neo-Liberal regeneration agenda. Meanwhile an interest in smaller scale, more open-ended and people focused projects has grown alongside the previously mentioned trend back towards craft and local making. This was exemplified by the nomination for the 2015 Turner Prize of London-based collective Assemble, for their work to support the regeneration of empty homes in Liverpool with a local community group. In many ways such actions are a return to the original origins of culture in post-industrial space. That is, instead of clearing away the past in some brave new vision, artists restoring things themselves, thinking long term and low cost and working hard to re-use the base of the old in new ways. Yet we remain in a post-regeneration era, when no one can ignore that, however well-meant such initiatives are, they do tend to help drive up the value of former industrial land, with many waiting in the shadows for economic opportunities presented by such grassroots initiatives. Will this new sense of DIY, craft, smaller scale and community focus retain its innocence or become another gentrification tool?
In it is into this context that Think. Play. Do., The Tetley’s exhibition of proposals for a play sculpture on Brewery Green, emerges. On one level it is about fun and wild open ideas; what would some artists, with limited constraints, create if asked to design a play sculpture for this site? However the project also asks, what even is a play sculpture, who would it be for and how would you ‘play’ with it? What role will it play in the regeneration of this part of Leeds and how will it relate to the context of where it is located?
The way we engage with art has changed, and so too has the way is it commissioned and produced. As well as the exhibition itself, the project is also a series of events, workshops, talks, publications, interactions and interventions that will all feed into what is an exercise in asking questions and trying things out. Think. Play. Do. is as much about us playing with ideas and concepts of art, sculpture, urban redevelopment and social and cultural change and seeing what happens as it is about selecting a ‘winning’ idea. We want a play sculpture on our post-industrial site, but we’re as much interested in how we get there as what we have at the end. This is a path that we hope ultimately results in a more engaging piece of public art that really resonates with this site’s former, current, and future use. Along the way we want to probe what direction the continued shifts in the use of the former urban industrial landscape as a site for leisure and culture may take. And of course, have a bit of fun while we’re doing it.
This piece was published to accompany the Think.Play.Do exhibition at The Tetley, Leeds in summer 2015.
I happened to read that quote just before I met Leanne Buchan to talk about Leeds’ cultural strategy and its bid to be European Capital of Culture in 2023. The quote is from the cultural critic Raymond Williams who, like me, was the child of a railway worker and the first in his family to attend university.
Leanne asked if I wanted to write something for the development of the strategy and this quote remained ringing in my ears. I considered writing something quite formal, based on my professional experience, but I’d already kind of done that here. So instead I thought I’d do a more personal response to the very good question, what does culture mean to you?
It’s hard to remember when I first became aware of the word culture as it is used in this context. Though I do know one early point must have been when Liverpool, which I grew up on the fringe of, announced its bid around 1999 to be European Capital of Culture in 2008. As a teenager, my understanding of culture was very much based around films, music and magazines, to me the stuff that made life more interesting. Even if I didn’t really know what such a bid was all about, in an area much maligned by the rest of the country, it was exciting. It seemed like it might help change things, that there might be more to see and do and be part of.
Over subsequent years, what culture meant to me was a slow opening out of ideas and things, places and people and getting to grips with all of that. Sometimes however ‘culture’ seemed a remote and inaccessible world. One dominated by a small circle of people who lived in a different part of town or far away in London. It was exciting. And it was difficult.
In a deprived city like Liverpool in the 90s, the question was asked even more than now in our post Credit Crunch times, ‘Why focus on culture? What about other things in the hierarchy of needs like food and shelter?’ To me, because it opens up the potential to tell stories and to ask questions, to make and do and change, even sometimes in things like food and shelter. Culture is not a panacea, but it’s something that represents an opening out of possibilities in a way that few other things do.
Liverpool leading up to and being Capital of Culture was exciting. And it was difficult. Authority and grassroots, mainstream and alternative, local and international, labels we give each other and make ourselves. Each claiming to be the ‘real’ culture when, to me, exactly what is culture in a city is the tension, the dialogue, the call and response between all of these. Hosting the title was grist to this mill, acting as a powerful catalyst for creation and debate. In enabled me and others to ask what did it mean to us and how do we make sure we’re heard?
On January 1st 2008, we joked ‘Well, I guess we’re cultural now’. It was the process though, before, during and after that year, the ups and downs and the conversations which I remember most now and that were the most important. These were the things which made people think and change locally, nationally and internationally, more so than the big headline events and pictures which get pulled out for brochures, though they were fun too.
Culture became a very big part of my life, even now years later, here I am still thinking and writing about it and you know, it’s still exciting and it’s still difficult. Working with artists, making things happen, working out an idea and seeing it come off, from a workshop to an exhibition to a book to a major event or a piece of public art. Getting to these end points can be a challenge but, as often, it’s the doing it, not the finished thing, that is the most exhilarating aspect, even if it doesn’t seem so at the time.
As I see it, so much of culture in the end is about ideas and stories and in particular, about whose ideas and stories get told and to whom. If you control the ideas and the stories, you control everything. That’s why it’s important to me that people at all levels are given genuine opportunities, space and platforms to develop and express their voice. Otherwise the voice of culture risks becoming a stale echo.
If culture is one of the most complicated words in the English language, then writing a culture strategy is an unenviable task. It also means that this co-production process that has been set in motion by Leanne and her supporters is then perhaps the only thing to do to make one. Being open like this is a risk and a challenge. It could go in all sorts of directions. That’s why it’s cultural. The more people who take part, the more difficult it might be, but also the more exciting. More cities should do it. As to 2023, bidding for Capital of Culture is a lot more difficult than bidding for the Olympics because it’s much less clear what exactly as a city you are expected to deliver, but that’s also why it is more exciting.
I started this with a quote from a Welshman I admired and I’ll end it with another, from Nye Bevan, which sums up to me why culture is important and even more so why making sure that the voices we hear in culture are not narrow: ‘This is my truth, tell me yours.”
I can acutely remember my first visit to Tate Liverpool as a child. My mum, not a natural gallery goer, was looking for somewhere free to take me on a day out.
I knew little of famous artists – but one I had heard of was Andy Warhol, and I was deeply impressed to find that an actual thing made by this famous person was in the same room as me. Later I would realise that it was probably not made by him and indeed that was the point, but still, it left an impression.
It was not until much later, when I eventually found myself working in the arts, that I realised how lucky I’d been. Living in Merseyside after Tate Liverpool opened in 1988, I had relatively easy and free access to art works of international calibre. Not every regional city has a Tate.
I thought back to this when I heard that a big chunk of the National Photography Collection – around 400,000 items, currently held in Bradford at the National Media Museum – was to be merged with the V&A museum’s Art Photography Collection and transferred to the V&A’s West London site, thus forming what would be the world’s largest collection of the art of photography.
In the longer term, the merged collection will be transferred to a new “International Photography Resource Centre” at an as yet unidentified location – though the V&A’s planned vast new site in East London must be the most likely contender.
Meanwhile, the National Media Museum, a part of the Science Museum Group, will continue to shift its focus to “STEM” – science, technology, engineering and maths – and “concentrate on inspiring future generations of scientists and engineers in the fields of light and sound, as well as demonstrating the cultural impact of these subjects”. The Bradford site may even change its name, possibly to “Science Museum North”.
There is actually a logic in merging parts of the photography collections of the Science Museum Group and the V&A. The fact that the Science Museum holds the National Collection of Photography is largely down to the snobby historical anachronism amongst our national art museums: in the past, photography wasn’t seen as “real art”.
There is also a logic to the National Media Museum re-imagining itself. It opened in 1983 as the second National Museum outside London (the first was the National Railway Museum in York in 1975, also part of the Science Museum Group). Since then, though, the Bradford museum has been overtaken by rapid changes in culture and technology.
For most of its history the institution was the National Museum of Photography, Film and Television. But it was renamed the National Media Museum in 2006, to reflect the rise in other forms of communication and image-making, and a new internet themed gallery was instituted.
Yet even these moves have barely kept up with the speed of change. So drawing out some of the more fundamental ideas and principles beneath such technologies, and investing in new galleries around these – a £1.5m light and sound gallery will open next year – is undoubtedly a good idea.
Important questions remain though. Why do such new developments have to be at the expense of celebrating the art that is made by these technologies, which remains for many the most engaging thing about them? Also, if these collections are to be merged – and no doubt quite a great deal of capital will have to be invested in creating an International Photography Resource Centre – why does it have to be situated in London?
Why not move the V&A’s photography collection to Bradford, where land is cheaper, and the cost of living for low-paid culture sector workers easier? Or if not Bradford, why not to Sheffield or Birmingham or Newcastle, which so far lack branches of National Museums?
This move doesn’t seem to fit with the noises coming out of the government and its agencies. Those are all about shifting public cultural investment from London to the regions – something that, in terms of museums at least, began with the opening of the Science Museum’s York and Bradford branches. As culture secretary John Whittingdale recently commented: “I do think there is a danger that too much is spent in London and obviously what we want to do is demonstrate that the UK has fantastic cultural offerings right across the country and not just in London.”
Of course, the V&A can point to its investment in the vast new V&A Museum of Design in Dundee as its commitment to displaying its collection of some 2.3m objects in the regions. Elsewhere, huge investment is going into the likes of Manchester’s £110m giant new arts complex “The Factory” and a £5m new South Asia gallery at Manchester Museum which will display collections from the British Museum.
At the same time as these developments, though, Bradford’s collections are moving in the opposite direction – and elsewhere, there is even worse going on. The Museum of Lancashire in Preston, the museum of an entire county, is currently threatened with closure. The Museums Association has estimated that 42 UK museums have closed in the last ten years: the vast majority of these since 2010, and in the regions.
Back in the day, Britain’s regional cities didn’t need London museums to open “branches”. Their industrial wealth, and the patronage and tax base that came from it, paid for museums and collections that once in many ways rivalled those held in London.
The Walker Art Gallery in Liverpool, for example, has one of the finest collections of art outside of the capital. Yet its ability to continue to buy new work in the later part of the 20th century was curtailed by industrial decline. The same went for other regional museums across the country – if they could stay open at all – hence the need for branches and partnerships with national collections.
Of course, such partnerships and collaborations should be encouraged. But with such severe local authority cuts, must regional cities merely hope to borrow what London can spare? Meanwhile, with the National Media Museum itself under threat of closure as recently as 2013, can even branches be sure to have a secure future?
The problem is cultural investment in the English regions has been sporadic and inconsistent. Vast new grands projets are happening in some places, while much loved institutions are shuttered elsewhere. Some cities are experiencing a cultural boom; others are approaching cutting it off completely.
The classic argument for locating the likes of an International Photography Resource Centre in London of course is that more people will visit it. Hard to argue with that, but it’s not hard to achieve either, when a city has a population of over 8.5m and an endless supply of tourists.
The counter-argument, from Conservative Bradford councillor Simon Cooke, is that it means more to have significant cultural facilities in the regions. “You could – had you had the guts and vision – have based this new resource centre in the north, in Bradford, where they would have been loved and cherished it in a way you in London can never understand.”
If the state funds culture through the taxation of the entire population and through the Lottery, which has a disproportionate number of players in the regions, then surely arts funding should be distributed in a way that ensures maximum benefit to the entire population? Even whilst accepting that a bigger city will generally always have more culture and thus deserve a fair chunk of funding, shouldn’t public funding look to support places where it is less easy to access and find other sources of funding?
No young person interested in photography or media in London will go short of places to find inspiration. In Yorkshire or elsewhere though, they might. As the only person from a family of engineers who works in the arts, I applaud the fact that the government seems finally to want to reverse decades of decline in this area – and indeed, there are many high-tech companies around Bradford who need a new generation of STEM students to be inspired.
But must only the technically inclined be inspired? Computer games, one of Britain’s biggest software sectors, needs artists as well as programmers. Or, is Bradford expected to supply the technicians and London the artists?
What Britain needs is a long-term plan of cultural investment across all of the regions. One that develops and sustains institutions that are geographically accessible to all, provides regular funding that develops and retains talent, and ensures that quality collections are shared across the whole country. Without such a plan, pet projects and grand statements from our leaders about “culture for all” will just be empty gestures.
Whether this will actually happen remains to be seen – but a good start might be locating the International Photography Resource Centre in Bradford. My gut tells me, though, that East London will likely win the day. Because in the end, London always wins.
This piece was published by CityMetric, a New Statesman website, in February 2016.
Preparations for the third UK city to hold the title of European Capital of Culture
By Kenn Taylor
In 2023, a UK city will hold the title of European Capital of Culture. This may seem a long way off, but the forward planning required by host cities means that for those who have decided to bid, preparations very much have to begin now.
The title has been held by two UK cities previously since it was first instigated in 1985, both times in very different contexts. When Glasgow hosted it in 1990 the EU was still the EEC and with what was then called the ‘City of Culture’ title originally conceived as a way of celebrating traditional ‘cultural centres’ like Amsterdam, Florence and Athens, there was a great deal of scepticism about a focus on culture in a city devastated by industrial decline.
Fast forward to 2008 when Liverpool held the title after beating fierce competition from Cardiff, Birmingham, Bristol, Newcastle-Gateshead, Brighton, Oxford, Belfast and Bradford amongst others. Back then the UK was in the midst of a ‘cultural boom’, with new arts facilities opening across the country, and in contrast to 1990, a staunch belief written into UK government policy of the regenerative power of culture for declined cities. This inspired in part by things such as the impact that the Guggenheim museum opening in Bilbao had on that declined port city and Richard Florida’s now much critiqued book The Rise of the Creative Class, which suggested that luring in ‘creative types’ could solve economically-deprived cities’ problems. Meanwhile, the Credit Crunch was just kicking in and beginning to shake the foundations of much ideology, including that of the EU.
Now in 2016 the UK is going through the bidding process again and we’re once again in a very different era. One were arts facilities are more often closing that opening and struggling to survive, when there’s been a shift in focus on development in our cities, allegedly, on science, technology and engineering, more clearly on generally harder economics, and on spending cuts in particular at a local authority level. In contrast to the last biding process this time only three UK cities have so far definitely thrown their hat into the ring, Leeds, Milton Keynes and Dundee. The spending cuts no doubt making many authorities shy away at the money required to be involved. The ‘European Project’ that saw the birth of the title meanwhile, has not seemed so precarious in decades.
I was born in Merseyside and was working in the arts in Liverpool during the build up, delivery and aftermath and that city’s title. I now work in Leeds as it ramps up its bid and, although much about the context is different, the sense of déjà vu is palpable.
I have often been asked by Leeds residents things such “What effect did it have on Liverpool?”, “Was it ‘good’?”, “Did it change the city?”, “Did it benefit the people?” These are big questions which, to me, do not have simple answers. I do think it was positive for Liverpool though and has had lasting effects. These have been various, but I believe at a fundamental level it helped transform the attitude of the city. Despite the terrible impact of spending cuts, in particular on some of the city’s poorest residents, seven years on Liverpool is still thrusting to develop in a way that was unthinkable in my youth in the 90s, when the area had been psychologically brought low by extremely rapid economic decline and the huge social effects of this. Merseyside lost 80,000 manufacturing and transport jobs between 1972 and 1982, a rate that, ironically, only really Glasgow could be compared to. By the 90s, there was almost an acceptance of failure and malaise, as demonstrated by the consistently thwarted attempts to build an arena for major events.
When the 2008 bid was won it was a ‘game-changer’ – the city had to up its ambition to deliver this huge project and has since managed to keep much of that momentum despite its spending power being hammered by central government cuts. There were of course other factors in the city beginning to turn itself around, such as increased private investment and government and EU Objective One funding, but 2008 provided a crucial focus and concentrator for change.
The development of the Capital of Culture programme for Liverpool was a bumpy road, with changes of management and direction, political point scoring and media cynicism to contend with, but in the end a large and diverse programme was delivered, which for the most part visitors and locals appreciated. The challenging thing about Capital of Culture bids are that it’s a lot harder than organising the Olympics, were you know, pretty much, exactly what’s expected of you. But what is ‘culture’? Museums, opera, architecture, okay. But what about pop music, poetry slams, graffiti, graphic design, comedy, sports, food, dialect, philosophy, ways of living…trying to please everyone is a real challenge and as with all forms of art, which is generally how the bid is interpreted, subjective.
Liverpool demonstrated its fair share of fine art collections, historic architecture and cutting-edge theatre, but the city was also canny enough to include the everyday and pop culture in its bid, even hiring Keith Carter, a local comedian playing his ‘Scouse character’ Nige, to meet the judges, rather than trying to gloss over the way that the city has been viewed. From pub singing to experimental eletronica, giant street theatre to community projects, Gustav Klimt to Bill Shankly, in 2008 it was part of it.
In a way the process of developing and submitting the bid was almost as important as the win for Liverpool and this is something other cities would do well to remember. Liverpool began to examine what was already culturally great and significant about it, which was an important boost to local pride and confidence. Once prompted to think about it, Liverpool citizens realised it had a lot going for it culture-wise in many different respects, despite its negative national image at the time. And indeed post-2008, this negative image continues to be slowly chipped away at, for example the city was recently highlighted as a top 10 global destination by both Lonely Planet and Condé Nast Traveller.
Leeds context is different. It has a stronger economy, and in many respects a better image. Yet, by its own admission, it lacks a national cultural profile despite boasting one of the highest concentrations of dance companies in the UK, three art schools, the principle opera company in the north of England, being a centre for sculpture and having one of the biggest fields of learning disability arts in the UK, amongst other things. So what should Leeds’ bid be?
I would suggest the same thing to any place that is considering bidding. A city should ask itself exactly why it is bidding. What does it want to achieve with the title? Then when it has answered why, it should ask, ‘what is unique about our city and how do we want to celebrate it?’
It’s important for cities to learn from the successes and failures of others, but copying slavishly or trying to create a programme merely to appeal to bid judges is doomed to failure. By focusing on a city’s strengths and through talking to those across the wide spectrum of its arts and cultural community, from grassroots initiatives to international directors, the outline will begin to write itself.
One thing that urban authorities should have learned over the last few years as more and more places have competed to be ‘cultural cities’ is having the same things as everywhere else is not necessarily helpful. In the globalised art world, why would you travel far to look at a Jeff Koons work in Leeds, Dundee or Milton Keynes rather than Venice, New York or Miami? A point of difference and celebrating local ‘cultures’ in their many forms serves the tourists as much as the locals.
‘International’ culture is still important. Bringing in the best from around the world can inspire both citizens and visitors and give new perspectives to local artistic communities, but the focus should still be about the city itself: asking what does it want to achieve and develop? Then working with international artists and practice to enhance that, rather than slavishly following trends.
As well as celebrating what is already great in a city, the title can be brilliant as a catalyst for new initiatives. Often this has manifested itself in a big new cultural building. A new building can be great, but it can also be a burden and a folly if it is unneeded and unsustainable and the title can also be a spark for developing things in other ways. Again, look for ideas internationally, but use local needs as a basis. Is there an art form that is neglected in the city? A local talent from the past forgotten? A historic site in need of a new use? What are local creatives crying out for? Where there is low participation in the arts, what can be done to increase interest? What problems is the city facing that arts can maybe help contend with? Not merely using the arts to gloss over problems or demolish ‘problem’ areas for new venues, but using the arts to ask questions and involve people in conversations, looking for solutions at a more holistic as well as a large-scale level, as exemplified by projects in Liverpool such as Homebaked and Granby 4 Streets.
Indeed wider involvement is to me the other key. Every city of any size has a band of creative people toiling away to make interesting things happen. A city that wholly ignores its own talent pool for ‘better known’ or ‘international’ artists is doomed to issues and lack of legacy. Similarly though, the title should not just be about pleasing the agendas of local artists and arts organisations. Just as crucial is the enthusiasm and engagement of the wider populance of the city. Indeed in Liverpool the judges said that local enthusiasm for the bod helped swing the title in the city’s favour. So mass participation and large-scale events, yes, but also in-depth engagement opportunities should be made available in a more focused way for local people. Liverpool being European Capital of Culture and the boom in arts around it aided me, from a pretty humble background, to have a career in the arts, and it can for citizens of other cities too.
Similarly those leading bids should not be afraid of ‘fringe’ programmes, even if they question what’s going on in the ‘mainstream’ one. One of the best things about Capital of Culture in Liverpool was how the very concept was creatively questioned and scrutinised. Artists and activists in the city used the attention the title brought to create work which questioned UK-wide issues such as the Housing Market Renewal Pathfinder and orthodoxies around culture and regeneration, which in turn helped shift the national conversation around them and open up paths to new views and ideas. If deconstructing the very idea of the title and its effects isn’t cultural, I don’t know what it.
Legacy is a word that comes from the lips of everyone involved in such titles and again, easier said than done. A big new building is a legacy, but only if it can be sustained. More grassroots spaces for arts might be another one, but not if there’s already plenty. More ephemeral things like committing to long term training programmes or youth arts initiatives can have more impact, including in the economic sense that all local authorities have an eye on. But more than that, they have the potential to genuinely inspire the next generation of artists in a city who’ll lead us who knows where.
I’m glad that despite the harsh climate that some UK cities are still bidding for European Capital of Culture and wish them well. Winning the title won’t solve all the problems of a city or, on its own, transform it socially or economically. It can though be an amazing celebration and a rewarding process, a catalyst for change, a training and testing ground for many and an inspiration for many more if done well.
Arts and culture can have a powerful effect on place and people, and if our cities are to grow and improve and adapt to the challenges of the 21st century, then, even in these strained times, that is something we need to not forget.
This piece was published by CityMetric, a New Statesman website, in December 2015.