1 Introduction
1. The UK art market is remarkable for its diversity
and scale, with visual works of stunning variety being sold in
the smallest retail outlets and the largest galleries and auction
houses. At a time when visual artists and art market professionals
are re-evaluating their complex interrelationships, and with consultation
underway on the introduction of a resale royalty for artistic
works (droit de suite), we decided to conduct an inquiry
into the art market. The inquiry's terms of reference, announced
on 18 January 2005, had as a particular focus, ways of supporting
and encouraging living artists and the production of new work.
2. We were also interested in establishing what scope
exists to promote best practice in the conduct of financial relationships
between artists and art market professionals. Views were, in addition,
also sought on the future operation and likely impact of European
Directive 2001/84/EC on artists' resale right. In the general
context of government support for the art market, we received
submissions, and took oral evidence, covering a wide range of
subjects and concerns: from educating the artists of tomorrow,
to the provision of studio space, to the impact of fiscal measures
on art.
3. An oral evidence session was held on 8 March when
we took evidence from artists, bodies representing artists and
art market professionals, the public sector and the Government.
Rebecca Salter and Professor Gerard Hemsworth (Goldsmiths College)
gave evidence on their experience as artists and on the challenges
facing emerging artists, particularly in relation to their dealings
with art market professionals. Susan Jones, a former artist and
now Director of Programmes at a-n The Artists Information Company,
told us of the need for greater consultation with artists and
for the promulgation of industry best practice. Evidence from
the Visual Arts and Galleries Association (Hilary Gresty) and
Arts Council England (Marjorie Allthorpe-Guyton) provided a public
sector perspective on support mechanisms for artists and ways
of promoting art and prompting the market.
4. The British Art Market Federation was represented
by Anthony Browne, with Sir Tom Lighton of Waddington Galleries
providing information from the perspective of the Society of London
Art Dealers. Both were concerned that the introduction of artists'
resale right would have a seriously adverse affect on the market,
an opinion disputed by Joanna Cave of the Design and Artists Copyright
Society. Dr Iain Robertson (City University and Sotheby's Institute
of Art) referred to the international competitiveness of the UK
art market, attributing this in part to the lack of regulation.
5. We also took oral evidence from the Department
for Culture, Media and Sport (DCMS) and the Department of Trade
and Industry (DTI). Lord Sainsbury of Turville (Parliamentary
Under-Secretary of State, DTI) gave evidence on the ongoing government
consultation on the implementation of artists' resale right. The
Minister for the Arts, Rt Hon Estelle Morris MP, provided the
Committee with an overview of government policy, including such
matters as encouraging art in schools and enabling new artists
in their careers.
6. On 28 February and 1 March, the Committee visited
Paris to gain an international perspective from a wide range of
professionals in what is, after the UK, the most important art
market in the European Union. We benefited from comprehensive
briefings from Sir John Holmes, HM Ambassador to France, Paul
de Quincey, Director, British Council France and Dr Claire Glossop,
Head of Arts, British Council France. Dr Glossop highlighted some
of the key differences between funding for the arts in the UK
and France, including the relatively important role played by
French local government. She also discussed the professional development
of artists and the size of the domestic art markets in both countries.
We visited the Palais de Tokyo where we met the Chief Curator,
Akiko Miki, and the Director, Nicolas Bourriaud; here we viewed
an exhibition by the British artist Liam Gillick and discussed
the role of galleries as public spaces.
7. We also visited the National Museum of Modern
Art, Pompidou Centre, where the Director General, Bruno Maquart,
explained policy on acquisitions and the ongoing French programme
of artistic decentralisation. The latter was well illustrated
by the Centre's plans to open a regional branch in Metz in 2007.
At the National Centre for Fine Art (CNAP)[1]
we met the Director, Chantal Cusin-Berche, and discussed professional
development issues with Denis Roche, Head of the Department for
Support to Creativity. Co-located with CNAP is the Fonds national
d'art contemporain (FNAC): here, Claude Allemand-Cosneau explained
the historical development of the French state's purchasing policy
for contemporary art, before providing the Committee with a brief
tour of the storage facilities for the collection.
8. We also held informal discussions with art market
professionals, representatives of the public sector and government
officials and visited the new Ministry of Culture Building where
Claudie Georges-François explained the conjunction of art
and architecture symbolised and embodied by the development itself.
Subsequent meetings with the Minister for Culture and Communications,
Renaud Donnedieu de Vabres, and officials (Alain Derey and Serge
Kancel) focused on the long French experience of droit de suite
(discussed further below) and on common interests in relation
to the status and rights of artists. We are grateful to all our
hosts and interlocutors.
9. We recommend that the UK takes the important
opportunity afforded by its forthcoming presidency of the European
Union to promote international co-operation in cultural development.
1 Centre national des arts plastiques Back
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