I had a conversation with fellow artist Martin Daws back in 2016. He had a great idea. imagine if artists were employed, full-time to work in communities? We worked on it. Martin then wrote a guest blog here in 2017.
This article sets out how we could easily and relatively cheaply employ artists in everyday community and how such a simple, yet radical system would create just the sort of transformative cultural change that is at the heart of Arts Council England’s new 10-year strategy, Let’s Create.… READ MORE
There’s been a lot written about Boiler Room’s involvement with Notting Hill Carnival and its future funding from Arts Council England’s Ambition For Excellence programme to produce a film about the event. I do not intend to rehearse those discussions here. There have been many valid points raised on both sides of the argument. … READ MORE
This is a guest blog by Martin Daws. Martin is a Spoken Word Poet and Community Artist. Full-time freelance since 1999. Young People’s Laureate for Wales 2013-2016. Check out his website and follow him on Twitter.
Martin came up with the idea of paying artists to work with communities instead of “investing” millions of pounds in “capital projects” such as arts centres. … READ MORE
This is a transcript of another Twitter conversation between @rattlecans and the poet Martin Daws. It stemmed from my tweet, which reflected Martin’s call for paid artists in place of multi-million pound art centres. I asked: “Instead of a £50m art venue, a city could pay 200 artists £25k a year for 10 years to work with communities; do what they want. … READ MORE
I received this letter from Richard Parry as a comment to my blog post entitled SHHH, BE QUIET! (Reflective prose about library closures, Arts Council England & middle-class asset stripping.) Richard has been researching the arts organisation V22 for some time (as have I). His letter which he has agreed to publish as a blog post here instead of a comment is the result of his research and relates to a number of Freedom of Information requests he has made to Arts Council England.… READ MORE
Tell me again, why do you want to work in Stockton? asks ARC Stockton chief executive Annabel Turpin. Of course, this question could apply anywhere and, I argue here, it could also be applied more deeply, perhaps.
Annabel Turpin’s blog about the invasion of London arts organisations in ‘the regions’ reflects a growing sense of frustration within regional arts organisations who feel they are not treated as equals in many such ‘partnerships’. … READ MORE
Did Assemble really play such a big part in Granby 4 Streets? How ‘community-led’ was the project? What was the role of the Community Land Trust? How did Assemble come to win the Turner Prize 2015? Who were the private social investors and what did they do to help make the project happen?… READ MORE
There have been many brilliant interventions at major UK arts institutions recently primarily focusing on fossil fuel funding. Collectives like Art not Oil, Liberate Tate, Reclaim the Bard and many more have created (and will no doubt continue to create) a host of spectacularly Platform London powerful, often sublimely beautiful acts of resistance against the involvement of fossil fuel corporations such as BP and Shell in and around some of the country’s biggest cultural institutions. … READ MORE
Cor! What a Bargain! Michael Landy, 1992
Liz Hill’s revelations about the National Funding Scheme in Arts Professional this week are undoubtedly shocking. How has the art world reacted to the exposé? Almost blanket silence. Any interest from the national press? Nope. Not yet. This silence typifies an arts establishment that happily trumpets any ‘positive’ news about the arts but increasingly closes ranks whenever there’s a whiff of failure or scandal.… READ MORE