New Art West Midlands’ director Craig Ashley reflects on yesterday’s announcement from Arts Council England about investment to the region’s visual arts organisations through their National Portfolio for 2018-22.
Arts Council England’s National Portfolio for 2018-2022 will include thirteen West Midlands’ Visual Arts organisations, up from the current number of seven. This almost doubling of the visual arts contingent is great news for the region, and the sector is strengthened further through the inclusion of more organisations working under the categories of Museums and Combined Arts where there is increasing work in the widening realm of visual arts, and exploration of the innovative spaces between art forms.
With the exception of Birmingham’s The Drum, which closed last year due to a number of challenges and was consequently not in the running for this next round of funding, the current cohort of West Midlands-based National Portfolio Organisations working across Museums, Visual and Combined Arts remains unchanged and will continue to receive investment.
This is an active and positive endorsement of the great work being done in the region, and Arts Council’s decision provides a degree of certainty in uncertain times. Investment from other sources of income must continue to be a priority over the next four years, and the impact of this stabilising fund will allow the time to further develop and grow the opportunities for a wider and more diverse funding mix.
It is important of course that, within the context of some much needed good news for the arts, there is a balanced view. Where other areas of public funding for culture have been consistently cut in recent years, particularly the investment from our challenged local authorities, the National Portfolio money awarded through Arts Council demonstrates the absolute necessity of public money to secure and strengthen our creative output.
As recognised by the Creative Industries Federation, public money sits at the foundation of our £84b-a-year-and-growing creative industries sector, providing essential support at the start of careers and initiatives that go on to bring great success to Britain. Furthermore, anticipating the gap left by the withdrawal of EU funds beyond 2019 – subject of course to the ongoing Brexit negotiations – how do we shore-up and sustain future public investment in the arts? Arts Council England cannot do it alone, and a wider valuing of the arts in society must be a collective concern that we need to address together, within and beyond the visual arts.
The important and integral partnerships between our National Portfolio Organisations and others, both within and beyond the Creative Industries, will help to strengthen a platform for the visual arts over the coming years, and provide a firmer base to build upon for the future. From artists to arts organisations to educators and business, the benefit of the National Portfolio investment is channelled through the relatively few to the many.
So now is definitely a time to celebrate the achievement of those organisations and their supporters and partners that have strived to creative something crucial, critical and valuable. The National Portfolio status is something to be proud of, and an indicator of the valuable contribution organisations make as instigators, protectors, mediators, collaborators, risk-takers and trailblazers.
The inclusion of more organisations in the National Portfolio reflects the region’s growing confidence and the breadth of the work we do. Distinctively here in the West Midlands, the support for the smaller-scale, diverse, innovative and artist-led outfits bolsters the resilience of the visual arts ecology.
The collective strength of Birmingham’s Eastside organisations demonstrates the importance of working together to mutually support. Joining Eastside Projects in the National Portfolio are Centrala, Grand Union and Vivid Projects, all based in the Minerva Works complex in Digbeth, alongside Friction Arts at The Edge on Cheapside. This critical mass is a model that New Art West Midlands is keen to support elsewhere in the region, to ensure sustainability alongside critical success.
Our museums continue to get the support they desperately need and deserve, with Birmingham Museums Trust and The New Art Gallery Walsall receiving continued investment in the face of challenges with their respective local authority funding. Encouragingly, Wolverhampton Art Gallery receives an uplift from 2018 and they are joined in the National Portfolio by Culture Coventry (The Herbert Art Gallery) and Compton Verney, both of whom become regularly funded through Arts Council for the first time.
The region’s reputation for distinctive festivals shines through the Portfolio, with BE Festival and Fierce now joined by Flatpack, Shout, Capsule’s Supersonic Festival, and the Stoke on Trent-based British Ceramics Biennial. And in terms of innovation, BOM and Hereford-based Rural Media are supported to continue their leading roles in developing the territory within the scientific and digital realms. Wolverhampton’s Newhampton Arts Centre adds to the region’s complement of multi artform venues, widening the cultural offer in the Black Country.
These decisions demonstrate Art Council’s commitment to diversifying the National Portfolio, in terms of practice and geography as well as the protected characteristics including disability, ethnicity, gender and sexuality. Among the existing National Portfolio, the Shropshire-based Disability Arts organisation DASH has received a significant uplift in their regular funding to expand their partnership work to commission disabled artists. DASH’s director Mike Layward commented:
“[This] is not only great news for the organisation as it secures our work across England for the next 4 years, but it’s also great news for the disabled artists we work with. The uplift will allow us to develop a new area of work with disabled children and young people who will be the disabled artists of tomorrow.”