Grassroots Strength
Charlotte Pratley
May 2009
www.nottinghamvisualarts.net
Charlotte Pratley immersed in an Ayling & Conroy installation
With the pending arrival of Nottingham Contemporary, the closure of Angel Row and the Bonington Gallery’s altered focus, the dynamic of Nottingham’s vibrant arts scene is shifting. Artist-led activity is flourishing while a large proportion of Nottingham’s professional gallery sector is temporarily dormant.
Fictions at Bonington Gallery, curated by Fay Nicholson and Hugh Dichmont
Inspired by the success of previous graduates such as MOOT and Reactor, more and more visual arts graduates are choosing to stay in the city, bringing fresh energy and creativity to the Nottingham arts scene. This phenomenon is nothing new though; graduate groups and artist initiatives have been a vital part of Nottingham for decades. As Neil Walker, Visual Arts Officer of Lakeside Arts Centre remembers, “Nottingham has always had this contemporary scene but it has waxed and waned over time.”
The early to mid 80s was one such seminal period for artist-led initiatives. This peak in creativity coincided with the recession of the late 70s and early 80s, which created an abundance of recently vacated industrial spaces in the Lace Market fit for creative purposes. It was during this time that Nottingham Artists’ Group (NAG) was initiated; Nottingham’s first studio group according original (and still current) member, Pauline Lucas. Most of the group’s founders were Trent graduates and, as with Backlit and Tether, they were assisted by strong links with the university. Derek Carruthers, the Head of Fine Art at the time even became a studio member in its early stages. Although it is no longer at the cutting edge of contemporary art, NAG has remained true to its manifesto to support local artists and continues to reflect the interest of its initiators by housing several sculptors. A physical representation of the legacy these artists have left on the city can be seen in the various public commissions that many of the members undertook, such as Hilary Cartmel’s Iron Woman in Theatre Square.
The early to mid 80s was one such seminal period for artist-led initiatives. This peak in creativity coincided with the recession of the late 70s and early 80s, which created an abundance of recently vacated industrial spaces in the Lace Market fit for creative purposes. It was during this time that Nottingham Artists’ Group (NAG) was initiated; Nottingham’s first studio group according original (and still current) member, Pauline Lucas. Most of the group’s founders were Trent graduates and, as with Backlit and Tether, they were assisted by strong links with the university. Derek Carruthers, the Head of Fine Art at the time even became a studio member in its early stages. Although it is no longer at the cutting edge of contemporary art, NAG has remained true to its manifesto to support local artists and continues to reflect the interest of its initiators by housing several sculptors. A physical representation of the legacy these artists have left on the city can be seen in the various public commissions that many of the members undertook, such as Hilary Cartmel’s Iron Woman in Theatre Square.
Angel Row Gallery
Another reason for the rapid increase in Nottingham’s creativity in the early to mid 1980s was a dramatic change in the Arts Council’s distribution of funds. When Luke Rittner was appointed Secretary General in 1983, he instigated The Glory of the Garden, the largest and most comprehensive review of the ACE’s operations and funding policies to date. As a result of this review, they sought to improve contemporary arts nationwide by distributing funds more evenly across the country, meaning that initiatives outside of London could expand and improve. Municipal galleries had a reputation for being outdated and had little income to buy new works or update collections. Emphasis was particularly placed on this sector and funds were directed from a few 'centres of excellence' to allow galleries such as the Castle Museum to hire new staff and host contemporary exhibitions. The policy was instrumental in shaping the contemporary history of British art and assisted young Nottingham artists at the beginning of their careers. This was, in fact, how Neil Walker first came to be employed as a gallery assistant over 20 years ago and how many other emerging local artists gained their first professional experience.
As in the previous recession, the current increase in unemployment and uncertainty means that cheaper rent appeals to recent graduates who may have otherwise considered going to London or returning to their home towns. When creative activity improves an area, the prices begin to rise in accordance with demand, forcing artists into other areas. Being slightly further from London, with an abundance of run-down areas to inhabit, Nottingham as a whole is much less at risk of this but it still occurs in pockets like the Lace Market. Now situated in a thriving cultural district, Broadway was once opposite empty warehouses and a seedy adult cinema (now the Screen Room) in the depths of a deprived area. By finding a niche market it has survived the improvement of the area to become one of Nottingham’s most prominent creative beacons. With the arrival of Nottingham Contemporary, this is set to continue as links are made between the new build and the Broadway.
As in the previous recession, the current increase in unemployment and uncertainty means that cheaper rent appeals to recent graduates who may have otherwise considered going to London or returning to their home towns. When creative activity improves an area, the prices begin to rise in accordance with demand, forcing artists into other areas. Being slightly further from London, with an abundance of run-down areas to inhabit, Nottingham as a whole is much less at risk of this but it still occurs in pockets like the Lace Market. Now situated in a thriving cultural district, Broadway was once opposite empty warehouses and a seedy adult cinema (now the Screen Room) in the depths of a deprived area. By finding a niche market it has survived the improvement of the area to become one of Nottingham’s most prominent creative beacons. With the arrival of Nottingham Contemporary, this is set to continue as links are made between the new build and the Broadway.
Broadway Cinema in 1990's
The new Surface Gallery
The new Surface Gallery
By analysing the market and adapting to situations as they arise, artist-led initiatives can improve their odds of survival and even turn a threat into positive development. A decade ago, a loose collection of Trent graduates formed Turtle Arts Basement Gallery, which was later reincarnated as Surface Gallery. When NCVS gave the gallery 6 weeks notice to leave their basement, it seemed as though the unfunded organisation was ready to admit defeat. However, a team of dedicated volunteers scoured the city for suitable vacant spaces and the outcome was their new premises in Sneinton: a beautiful four storey building that was once a photography studio. After years of driving emerging creatives half mad through lack of sunlight and ventilation, the gallery is finally a pleasant, open space. Previous to its move, the location had alienated viewers and exhibitors alike, being too hot, too cold, too dim, too intimidating to enter; a difficult space to work with all round. The reinvigoration of Surface has been an incredibly important project for the development of many creative people who have worked towards the new and improved gallery programme and given the organisation the long overdue change of location needed to stimulate new interest and ideas.
Despite the overwhelming amount of creative activity in Nottingham, there are still surprisingly few paid entry-level opportunities and competition for these few posts increases as more emerging artists collect in the area. Djanogly Gallery recently received over 300 applicants for a part-time Gallery Assistant’s post! As one young Nottingham artist noted on her a-n blog, Arts Jobs (Arts Council England's employment website and e-newsletter) reveals the usual story: a large proportion of advertised jobs are unpaid and many paid positions are managerial roles. As the large number of volunteers in Surface Gallery (or indeed those working in most project groups or grassroots galleries around the country) will tell you, internships and voluntary placements are the price we pay for beginning a creative career. Arguably though, low budget, experimental projects born from a lack of paid opportunities may be the fizz in a city’s creative cocktail that gives the revolutionary vibe necessary to balance more structured events of highly funded galleries.
Despite the overwhelming amount of creative activity in Nottingham, there are still surprisingly few paid entry-level opportunities and competition for these few posts increases as more emerging artists collect in the area. Djanogly Gallery recently received over 300 applicants for a part-time Gallery Assistant’s post! As one young Nottingham artist noted on her a-n blog, Arts Jobs (Arts Council England's employment website and e-newsletter) reveals the usual story: a large proportion of advertised jobs are unpaid and many paid positions are managerial roles. As the large number of volunteers in Surface Gallery (or indeed those working in most project groups or grassroots galleries around the country) will tell you, internships and voluntary placements are the price we pay for beginning a creative career. Arguably though, low budget, experimental projects born from a lack of paid opportunities may be the fizz in a city’s creative cocktail that gives the revolutionary vibe necessary to balance more structured events of highly funded galleries.
This need to create paid opportunities also forces young artists to hone their practical and promotional skills and ensures that a large proportion remain connected to and benefit communities through teaching and workshops.
Ironically, as the recession takes hold things are looking up for Nottingham artists. In recognising the potential for East Midlands to become a centre for British creativity, the five large Arts Council funded new builds are creating many opportunities for artists to learn their trade in professional environments. Although their director is Alex Farquharson (a curator often associated with London-centric projects and connections), Nottingham Contemporary already employs several Nottingham artists and curators and will create more entry-level posts upon its opening in autumn. The New Art Exchange already employs many local creatives at various levels of its organisational structure.
By working within arts centres, younger artists can quickly gain knowledge to make their own projects more successful and increase the international reputation of Nottingham as a creative capital. Mentoring and internship schemes with established galleries can be incredibly beneficial, both to new graduates and the organisations themselves, creating vital communication between the different strata of Nottingham’s artscape. Lakeside Arts Centre, keen to continue their involvement in the improvement of creative Nottingham, already provide short term internships for Nottingham University graduates alongside exhibition and mentoring opportunities for Photography and Decorative Arts graduates from Nottingham Trent. Grassroots initiatives themselves are also making use of the internship culture in arts: Backlit director Ashley Gallant assisted at MOOT as an intern and was rewarded when the gallery and Stand Assembly studios moved to their new premises, leaving the space to a group of graduates in 2008.
Ironically, as the recession takes hold things are looking up for Nottingham artists. In recognising the potential for East Midlands to become a centre for British creativity, the five large Arts Council funded new builds are creating many opportunities for artists to learn their trade in professional environments. Although their director is Alex Farquharson (a curator often associated with London-centric projects and connections), Nottingham Contemporary already employs several Nottingham artists and curators and will create more entry-level posts upon its opening in autumn. The New Art Exchange already employs many local creatives at various levels of its organisational structure.
By working within arts centres, younger artists can quickly gain knowledge to make their own projects more successful and increase the international reputation of Nottingham as a creative capital. Mentoring and internship schemes with established galleries can be incredibly beneficial, both to new graduates and the organisations themselves, creating vital communication between the different strata of Nottingham’s artscape. Lakeside Arts Centre, keen to continue their involvement in the improvement of creative Nottingham, already provide short term internships for Nottingham University graduates alongside exhibition and mentoring opportunities for Photography and Decorative Arts graduates from Nottingham Trent. Grassroots initiatives themselves are also making use of the internship culture in arts: Backlit director Ashley Gallant assisted at MOOT as an intern and was rewarded when the gallery and Stand Assembly studios moved to their new premises, leaving the space to a group of graduates in 2008.
The New Art Exchange on Gregory Boulevard in Nottingham
When communication between artists, groups and institutions is encouraged and maintained, great things happen to improve the quality and variety of Nottingham’s arts scene. Sideshow, the fringe event to British Art Show 6, set Nottingham apart from the festival’s other locations and proved that Nottingham is worthy of the spotlight Nottingham Contemporary will focus on the area. With this exciting level of events and projects set to continue, a strong source of new talent from Nottingham Trent and a spiraling reputation for creative innovation, the future of Nottingham’s creative landscape looks promising. The city has many strengths, including good geographical positioning and infrastructure, varied programmes and an interested audience, but the cultural landscape is still ripe for new graduate and emerging artist projects to create their own niches and contribute to the improvement of the city to nurture and retain the next wave of young artists.
