Memorandum submitted by The Visual Arts
and Galleries Association
INTRODUCTION
1. The Visual Arts and Galleries Association
(VAGA) welcomes the opportunity to respond to the inquiry in the
Art Market. At a time when contemporary visual art is enjoying
unprecedented levels of public interest it is important that the
cultural and economic contribution it makes to UK society is reassessed.
2. VAGA is a professional membership body
working to further the exhibition, interpretation and development
of modern and contemporary visual art for the benefit of the public.
The Association acts as an advocate on behalf of its members to
secure a healthy visual arts sector fit to meet the needs of audiences,
creative practitioners and the wider public agenda. The current
focus is to .build on the principles explored in the essay: The
Right to Art: making aspirations reality commissioned from
Demos in 2004 in order to broaden public engagement with, enjoyment
of and participation in visual culture.[18]
3. The Association's membership is made
up of over 400 organisations and individual visual arts professionals
from across the visual arts and museum sectors.
VAGA members:
— promote innovation, creativity and
knowledge through the work and ideas of contemporary visual artists;
— seek to remove intellectual, social
and physical barriers to the enjoyment and understanding of the
visual arts;
— work to develop the potential for
education, lifelong learning and personal development in and through
the visual arts; and
— aim to broaden audiences and improve
the quality of their experiences.
4. The public gallery and the commercial
gallery sectors share a complex set of relationships which stimulate
the economy for artists through the production, distribution and
interpretation of works of art; this statement identifies the
UK art market as a confluence of commercial galleries and dealers,
individual artists. and the public gallery sector. VAGA is principally
concerned with public funded activity that promotes and supports
contemporary art.
5. The public gallery sector for the purposes
of this submission is seen as comprising:
— national museums and galleries;
— regional galleries, museums and largely
under local authority governance but now also as independent trusts;
— the independent gallery network of
exhibition venues primarily funded through the arts funding system
eg Ikon Gallery, Birmingham, Serpentine Gallery London;
— exhibition galleries and collections
attached to Higher Education institutions; and
— independent commissioning agencies
producing short-term events and one off high profile projects,
often in non art settings.[19]
6. For the most up to date research on the
UK Art Market see Art Matters[20]
published by Arts Council England.
AREAS COVERED
IN THIS
STATEMENT
7. This statement explores the role the
public gallery sector plays in the UK and international market
for works of art by living artists and the support they offer
contemporary artists primarily through exhibitions, permanent
collections and education programmes. It also looks at the relationship
between the public and commercial sectors and refers to the lack
of data available on the economic contribution of the artist.
8. For the purposes of this statement we
are not concerned witth the role that public galleries play in
the market for historic art or the secondary market for contemporary
works. LIkewise artist run projects and public art commissioning
agencies, both of which make a substantial contribution to the
economy and support of artists, are not discussed in this paper.
THE CURRENT
ROLE OF
THE PUBLIC
GALLERY SECTOR
IN SUPPORTING
ARTISTS
9. There are an estimated 45,000 professional
UK artists, who can be seen as both:
— Creating objects in different media
that enter the public domain as commissions, purchases for collections,
loans for display in temporary exhibitions and are distributed
via traditional and new media.
— Providing services, ie the skills
and resources that artists provide through residences, teaching,
administration, urban and rural planning, public art, design,
curating exhibitions, working in broader community settings such
as health, education etc. There is no reliable data for these
services but they are likely to contribute as much to the economy
as the making and selling of art.[21]
10. The public gallery sector supports artists
and makes an important contribution to the UK art market in a
number of direct ways:
— Through the public display and exhibition
of new and contemporary work in temporary exhibitions, permanent
collections and temporary projects and events.
— Direct support for the production
of new work through exhibition fees, residencies, fellowships,
commissions and the purchase of work for public collections.
— Provision of a potential sales outlet
for artists who are not represented by commercial galleries.
— Employment of artists as artist-educators,
lecturers, writers, technicians and curators etc.
11. Indirect support includes:
— Provision of formal and informal
education and learning opportunities for a variety of groups schools,
HE/FE students, artists, patrons, dealers, academics, the general
public and potential collectors.
— Maintenance of publicly accessible
catalogues and archives.
— Collector development through education,
patron and exhibition programmes.
— Participation in the "Subscription"
process where by an artist's reputation is established[22]
PUBLIC DISPLAY
AND EXHIBITION
12. Public Galleries provide a nationally
distributed network of permanent collections, exhibition spaces,
exhibition programmes and temporary events and projects. This
reaches a wider and more diverse and regular audience than the
largely metropolitan focussed commercial gallery sector. Public
sector galleries may also tour exhibitions both within the UK
and internationally.
13. Exhibitions fall into different categories
according to the status and career stage of the artist and the
policy of the exhibiting gallery. For lesser know artists or those
without dealer representation they build up knowledge, credibility
and support for the artist and increase the public understanding
of new work.
14. Exhibitions of well-established artists
add to their international reputation and standing. A "museum
show" with a substantial catalogue contributes to an artist's
status and the public knowledge of their work and therefore to
its potential value.
15. Retrospective shows of either single
artists or thematic and contextual exhibitions drawing on a range
of artists and objects may rely on loans from commercial galleries
or agents. Given that there are no agreed codes of practice between
the public and private sectors agreements concerning loans, sales,
transport, reproduction rights and other presentation costs can
be difficult. The development of a strong professional trade association
for the private sector would provide the context within which
to establish agreed parameters.
SUPPORT FOR
ARTISTS
16. The most direct contribution to the
UK market is through: sales, commissioning new work, residencies
and fellowships and purchases for collections.
17. Some sales do occur as a result either
directly or indirectly of public gallery exhibitions. There is
no industry standard for the percentage of a sale that each of
the public gallery, artist or commercial representative will take
as commission but will be written into each contract with the
public gallery.
18. For those artists without commercial
representation the ability to make sales through an exhibition
at a public gallery is particularly important, however few public
sector curators have the time, networks or expertise to promote
sales.
19. Public galleries may commission new
works for exhibitions and temporary projects. This will include
a fee, material costs, project management and the developmental
support and ideas of gallery staff. The ownership of works resulting
from commissions will vary according to specific circumstances
but in all cases there is a payment and possibly support in kind
to the artist that is thus a contribution to the art market. Title
to goods need not be transferred (nor is it always desirable or
possible) for this to occur. Commissions may also be made for
permanent collections.
20. VAGA is of the opinion that it would
be to the benefit of all parties to establish clearer guidelines
and standards for sales made from public sector exhibitions and
for investment to be made in training and supporting public sector
curators in sales negotiations and collector development.
21. During residencies the artist is closely
associated with the gallery during the development and production
of the work. The contribution that the gallery makes to the artist
can be substantial through access to intellectual and physical
resources, places and people. Antony Gormley, for example made
use of both large studios provided by Baltic, the curatorial support
of the gallery and access to local participants in the production
of Domain Field.
22. Exhibitions, commissions and residencies
can provide both professional development and financial support
for artists. A good relationship with a dealer will provide similar
support but on an ongoing basis. Given the variable career paths
of artists[23]a
variety of longer term mechanisms for career development and support
need to be developed either through the public sector or jointly
with the public and private sectors to help enable sustainable
careers for artists.[24]
COLLECTIONS
23. Permanent collections of contemporary
work are central to the public sector's direct support and patronage
of artists and contribution to the art market. They also enable
individuals to make informed choices about their own purchases.
Whereas in the 19th century public collections evolved through
the gifts and bequests of wealthy private collectors, it is now
public collections which inform and stimulate private collecting.
24
24. Purchase budgets and the ability for
public collections to acquire new work and fill gaps in collections
of 20th century art have not kept pace with the public interest
in contemporary art, visitor expectations or indeed the increasingly
evident contribution that visual culture makes to society through
encouraging creativity and critical thought.
25. The risk that has to be taken in acquiring
new and often controversial work is a key factor effecting public
collections. Work bought at an early stage of an artist's career
will be less expensive and provide valuable support for emerging
artists. However, decisions about what to acquire must largely
be based on individual curatorial judgement and the willingness
of funders to take risks. This can lead to opportunities being
lost and works only being considered for acquisition once they
have escalated in value. It is proposed that the idea of holding
collections or other mechanisms structured to mediate risk and
to provide income for artists through a loans or rental should
be explored.
26. For some artists the type of work they
produce is unlikely to be immediately attractive to the private
collector for reasons of size, material or display needs and it
is therefore important that these works are purchased and documented
by public collections.
27. The Contemporary Art Society is the
main source of independent funding dedicated to contemporary collecting.
It has recently led two time limited lottery funded schemes in
England and Scotland, which have enabled participating museums
to purchase contemporary work and have provided research and travel
funds for staff. ACE and the Scottish Arts Council should be encouraged
to invest again in similar programmes dedicated to contemporary
art.
28. Public collections should not have to
be reliant on grants from private charities or Lottery funding
and more government grant-in-aid is needed to enable public institutions
to acquire contemporary art and create collections for the future.
29. VAGA supports the concept of a dispersed
national collection whereby works in public collections are understood
as belonging to everyone and the locations of all works are mapped
and made available to the public via a searchable database. Such
mapping would enhance public access and knowledge, be invaluable
within education and learning and also support curators and private
collectors in making decisions regarding purchases.
30. VAGA recommends that the Select Committee
consider a specific inquiry into public collections. This would
provide better understanding of their public value and provide
the opportunity to explore tax incentives and other means of encouraging
private collecting and giving. The extension of Gift Aid, for
example, would allow donors to set gifts of works of art to the
nation against income tax and help to enrich national and regional
collections at little additional public cost.
PERIPHERAL BENEFITS
TO ARTISTS
31. Peripheral benefits can include production
of catalogues/press materials and talks/education programmes.
Catalogues may range in scale from full colour glossy researched
publications to photocopied black and white handouts available
free to visitors. In all cases this production of archive materials
is important in its contribution to the debate about the artist
and their work enhancing their reputations and marketability.
Such documentation is particularly important site specific work
and live art.
OTHER FINANCIAL
SUPPORT
32. It is becoming increasingly common for
public galleries to produce limited editions (eg Tate The Serpentine,
Camden Arts Centre, Whitechapel and MIMA Middlesbrough.) These
provide significant levels of revenue for the galleries and benefit
artists through direct financial return and the development of
new audiences. Smaller public galleries may also run open invitation
selling shows often coinciding with key trading periods eg Christmas
and are a means of revenue generation for artist and gallery alike.
ACE is about to commission research in to income generation by
public sector galleries which may identify further models of gallery
generated financial support for artists.
EDUCATION, LEARNING
AND OUTREACH
PROGRAMMES
33. Education, learning and outreach programming
is central to the ethos and activity of public sector galleries
and provides a wide variety of support for artists. They also
inform potential collectors and the general public. Museums also
increasingly use artists to interpret non- art collections.
34. Many of these programmes address the
government's social inclusion, health and lifelong learning agendas.
At present the is no comprehensive data as to the size of the
support offered to artists via education and outreach programmes
across public sector galleries and museums, or of the economic
and social value of the service they provide.
35. Public gallery exhibitions and accompanying
educational prgrammes are a common route in to an artists work
for a collector. This provides, in the absence of commercial representation,
the endorsement and understanding of an artists work that new
collectors seek. Whilst research on the origins of an individual
collectors motivations has not been carried out, VAGA believes
that the public sector provides a key entry point into the art
world for budding collectors. It is considerably more likely that
new entrants come via the free access to public galleries, the
reduced threshold barriers and education programmes than enter
the sector directly via commercial galleries.
36. Such interaction with public galleries
by collectors also serves to educate collectors about the ethos
of public galleries, the public benefits of patronage and the
variety of opportunities to support artists beyond the direct
purchase of works. The Tate Patrons of New Art are an example
of a specific group developed through and in support of a public
gallery. The Contemporary Art Society also run programmes and
visits for potential collectors and therefore also potential donors
to public collections.
37. Gallery education programmes also provide
networking and education opportunities for other artists and thereby
add to their opportunities for professional development.
38. School and informal, ex curricula education
programmes for children and young people working in and through
the visual arts encourage creativity with a potentially long term
impact upon flow of talent into Creative Industries, the connection
to HEI programmes and upon visual literacy levels within the UK
population as a whole.
CATALOGUES AND
ARCHIVES
39. In addition to the education programme,
public gallery catalogues and archives are of benefit to artists
and the UK art market in providing comprehensive and up to date
sources of information on individual artists. Archives also provide
safe repositories for fragile and ephemeral items of interest
to future collectors.
THE ECONOMIC
ROLE OF
THE ARTIST
AND THE
CREATIVE INDUSTRIES
40. At present there is inadequate data
concerning artists' contribution to the economy. In the DCMS mapping
of Creative Industries the UK art market is classified under the
heading of "Art and Antiques". [25]his
makes provision neither for the difference between the market
for work by living artists as a commercial sector nor the market
for artists services supplied to Public Galleries, to other Creative
Industries and the broader public sector such as regeneration
projects, work in the health settings etc
41. In addition VAGA and others are of the
opinion that artists are a critical skills feed into other Creative
Industries. Some data[26]does
exist to demonstrate the flow of artists and their skills into
the Creative Industries. However a more focused piece of research
that demonstrates not only the supply of a workforce to the Creative
Industries and broader public sector but also examines the appropriateness
of the skills that are provided by HEI's in readiness for employment
would be of great use and would be supported by the European perspective[27]
42. VAGA is working with ACE on the feasibility
of an artists' research unit the remit of which will include access
to existing research on the status, role and economic conditions
for practicing artists and to commission new research in this
area. The pilot for this research body will be launched later
in 2005.
February 2005
18 http://www.demos.co.uk/catalogue/righttoartreport Back
19
Arts Council England is currently undertaking a review of the
infrastructure for the presentation of the contemporary visual
arts in England, this will give a more accurate picture of the
make up of the sector. VAGA also commissioned research on the
gallery infrastructure in Scotland in 2004, Hamilton, Christine
and Susan Galloway, Briefing for the Visual Arts and Galleries
Association (Scotland), February 2004., Centre for Cultural
Policy Research University Glasgow, http://www.culturalpolicy.arts.gla.ac.uk/site-resources/frame-set.htm. Back
20
Buck, L Market Matters. London: Arts Council England, 2004;
Morris Hargreaves, McIntyre. Tastebuds. 2005. London, Arts Council
England, report www.artscouncil.org.uk/newaudiences; McAndrew,
C. and Kusin & Company. The European Art Market in 2002 (report);
TEFAF. The European Art Market. 2000 (report); Coffey, S Visual
Invisible-A Strategic Review of the Visual Art Market in Ireland:
Recommendations for a developmental approach. 1999. Dublin,
ISBN 095179836-7. According to ASI data the UK art market (£1.043bn)
is the largest in Europe (£2.488bn) and second only to USA
(£3.979bn) on a global basis Back
21
Those artists who on leaving art school enter the broader range
of Creative Industries provide further services. Back
22
Sagot-Duvauroux, D "Hiatus: L'Art Et Le Fonctionnement
Du Marche." Editions de Felin, 1993. 117-36 Back
23
Allen, K and Shaw, P Strengthening the infrastructure for visual
artists. 2003. ACE Report; O'Brien, J and Feist, A Employment
in the arts and cultural industries: an analysis. 1997. Arts
Council of England; Shaw, P, Allen, K, and Gaudoin, D A visual
artists advice and information service for London. 2000. Rawson,
D and Wheatley, A Artists Professional Development Scheme
Review 2000. . Report; Summerton, J Artists as Work 1999: A
Study of the Patterns and Conditions of Work in the Southern Arts
Region. 1999; Shaw, P, Allen, K, and Gaudoin, D A visual
artists advice and information service for London. 2000 London
Arts Board. Back
24
For more information contemporary collecting see VAGA's response
to the Museum Association Inquiry into Collecting,, http://www.vaga.co.uk/index.php?main-section=16&textentryid=162 Back
25
DCMS. Cultural Industries Mapping Document. 2001. London, DCMS. Back
26
Harvey, L. and Blackwell.A. Destinations and Reflections: Careers
of British Art, Craft and Design Graduates. Birmingham: Centre
for Research into Quality, 1999. ACE. From Learning to Earning:
Connecting art, craft and design in higher education with the
creative industries: a review of regional issues. Stephen Burroughs.
2002. London, Arts Council England, Report. Back
27
In from the Margins. 1997. Council of Europe Publishing,
Report. Back
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