Select Committee on Culture, Media and Sport Written Evidence


Supplementary memorandum submitted by The Art Fund

  When the Minister for Culture, Mr David Lammy, gave evidence to the Committee last month, he responded to a question about the shortage of funds for acquisitions by citing evidence from the Travers Report to challenge the idea that there was a "crisis" in relation to the funding of acquisitions. "Crisis" is an over-used word: but there certainly is a very serious and growing problem. The extraordinary success of our public appeal for the Blue Rigi not only reveals the extent of the problem, but also the enthusiasm of the public for our public art collections.

  As an organisation that deals on a daily basis with museums and galleries, large and small, all over the UK which are trying to build their collections, The Art Fund is uniquely well placed to comment on this subject. I would therefore like to make the following points in response to the evidence given by Mr Lammy:

  1.  The Art Fund's own research published last year based on a survey of more than 300 museum and galleries throughout the UK revealed that 96% of museums complained that "inadequate core funding" was a barrier to collecting; that fewer than 10% of UK museums allocated a fixed proportion of their core funding each year to collecting; and that 60% of all museums allocated no income to collecting in 2005.

  2.  Mr Lammy cites Travers' table regarding how our museums compare with their counterparts abroad. The Art Fund also compared the amounts of money available for collecting purposes to the major British National collections and some of their overseas counterparts for the year 2004-05, a more recent year than Travers. Briefly, this revealed that the British institutions were very much worse off than all the museums and galleries with which they were compared—including those in Europe. Comparisons of this kind are always tricky, but the figures we cited were accurate for the year in question.

  3.  Mr Lammy goes on to say that "it is hard, because of the relation of the art market, to compete with some of the private museums in the United States and indeed there are going to be pressures in relation to what private money can do in relation to museums in Russia and China over this and the next period". This almost sounds like an admission of defeat before battle has been joined, and one wonders whether that is what the Minister really meant, or an acceptable course of action for what is still one of the world's richest countries.

  4.  Mr Lammy stated that "our museums are spending just shy of £300 million on acquisitions and I am afraid that is a large sum of money". Firstly this figure is for 10 years, and secondly it includes funding from the National Heritage Memorial Fund (NHMF) and the Heritage Lottery Fund, as well as tax foregone under the Acceptance in Lieu programme. Given that the NHMF in particular funds a few, exceptional and costly works, it is misleading to include their funding—such an aggregate figure is unhelpful as it distorts any analysis of the funding challenge faced by the museum community as a whole. Our survey—of 305 museums of all types and across all regions—revealed that the majority of museums have little if any spending power.

  5.  The Travers Report makes it clear that museums and galleries do in fact face serious problems in funding acquisitions. He states that "the amount spent on acquisitions is very small" (p 21); and that "there are a number of important museums and galleries in other countries, particularly in the US, where the annual level of expenditure on purchases is significantly higher than in the UK leading institutions" (Ibid).

  6.  More generally Travers makes the point that museum "income has not been rising as fast as staff and other inflationary costs in the economy (p 8); and that "put simply, the availability of resources for investment in museums and galleries appears to be unrelated to the needs of the sector" (p 19). He concludes by asking "whether, collectively, there is a national desire to deliver, maintain and expand this particular creative sector".

  Against this background—and I could supply further data if required—I do not see how anyone could deny that there is a real problem here.

2 March 2007





 
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