The fastest, most assured way to boost grassroots arts in the UK? Provide artists with access to the buildings in which to show their work, argues JOSIE JENKINS
For those of us switched on to the problems caused by identity politics and anti-Western sentiment, the discussion about how these ideas are detrimental to the arts is nothing new. But the question of how we proceed now that we have identified the issue is more of a tricky one.Â
With the Jackdaw’s David Lee and artist and writer Alexander Adams making a compelling case for abolishing the Arts Council, in their 2022 pamphlet, we are left contemplating: where would such a drastic move leave British contemporary art? If the state is going to support its artists, what is the best way for it to do that whilst interfering as little as possible? My answer, which I think people of varying political persuasions can get on board with, is through buildings.
Artists’ Autonomy
Most people recognise that artists need autonomy to thrive. However, whether funding comes from the state via the Arts Council and DCMS, from businesses through sponsorship, or directly from philanthropists, it can bring pressure to align with any funder’s agenda. Of course, like anyone else, artists are influenced by many external factors, with or without funding—so complete autonomy is always limited. But it is the overtly politicised nature of recent government funding programmes that makes reform so obliviously necessary.
Self-Organised Activity
While artists will always complain of being on the poverty line and British citizens have certainly been feeling the pinch in recent years, it is vital to remember how far we’ve come. In spite of recent inadequacies, we have, over many decades, built a prosperous nation where average people have free time and resources through high wages and a social safety net – a situation which allows for self-funded activity. We have a society where the idea of ‘being an artist’ is open to anyone who is serious enough about pursuing it.
We know that artists will create and share their work independently of institutions. There is a strong tradition of independent artistic collaboration in the UK, with many artists either unable to obtain funding or not interested in pursuing it. Throughout history, great artists have managed to emerge and create masterpieces, independent from institutions and against the backdrop of dark times. Regardless of their financial situation, you will find that artists search out like-minded people and, frankly, just get on with it.
However, although there is a real truth to the romantic idea that artists will always ‘find a way’ to express themselves, there is one stumbling block that is becoming an increasing problem. What artists need most is spaces in which to create, exhibit and perform. A common and valid concern among artists today is that long-standing performance spaces, studio groups and independent galleries are shutting down, with few new initiatives emerging to take their place. Setting up studios, galleries and even small performance venues requires a huge initial financial outlay and continued commitment, not to mention working under increasing regulations and health and safety requirements. For most artist collectives, this complicated and costly situation is just too much to manage.
Gone are the days when an artist collective could go crazy with a huge, precariously constructed, experimental installation in a decrepit old shop unit owned by someone’s uncle, or set up studios in a freezing cold warehouse with holes in the floor and dodgy electrics, with a landlord who would prefer a bit of cash rather than no tenant at all. Nowadays, for any group to occupy a building, multiple risk assessments, fire safety controls and added insurance are all required. This, along with commercial or industrial letting regulations, is also a consideration for the philanthropic building owner who, in the past, was more relaxed about lending a vacant building to a group of enthusiastic artists and, of course, the dodgy landlord who’d be willing to reduce the rent for the sake of not having to do repairs.
But we know that, if the right infrastructure exists, artists will organise themselves, as with any other shared interest group (sports teams, mothers, model train enthusiasts…). With our current funding model, artists are passively directed by an authority and this needs to be flipped on its head. By providing beautiful, functional, well maintained buildings, the state can encourage self-directed voluntary activity, where average people are involved and in control.
A Solution In Buildings
Many organisations which are currently funded by the Arts Council to provide a programme of contemporary art, are managing beautiful and important historic buildings as part of that package. Instead, I propose the emphasis is taken away from the programme of contemporary art, which continues to disappoint the general public and push radical political agendas and, rather, focus attention and care onto the building itself, opening it up for self-funded, artist-led activity. From here, serious artists and creative ventures will emerge, even from amateur practice, with artists developing their own standards of excellence.
Providing buildings for artists does not entirely rule out the possibility of political influence from the state – decisions will still need to be made about who gets to use the buildings – but it will certainly help to limit government interference into the artistic activities carried out in the building. Moreover, directing funds into protecting these historic buildings is a good in itself. Hull’s Pier Street pop-up gallery initiative in the city’s historic Fruit Market area is a great example of how the simple provision of a well functioning building can support artistic activity. Artists are required to pay a very reasonable fee, maintaining the seriousness needed to place a booking and preventing overload in demand.
Back to Institutions
Alongside this kind of state support there will, and should of course, continue to be support for artists via commercial venture and philanthropy. A mixed approach is the best way to open up opportunity to different types of artists, with their varying personalities and interests and the wide range of art that they produce. Finally, this bottom up approach will enable the best of what is produced to feed into our national collections, making its way into public art galleries. For this to happen, civic gallery curators should pay attention to grass roots activity, identifying artists of merit and purchasing notable works of art to feed into collections.
To stimulate new art, the emphasis should now turn to institutions to employ the best curators, due to their knowledge, experience and specialist skills, and to identify those who care about protecting our national heritage and growing our collections for the future.
Josie Jenkins is an artist based in Liverpool, UK, with experience working across public art institutions and grassroots projects. She co-curated and exhibited in Refractive Pool: Contemporary Painting in Liverpool at the Walker Art Gallery in 2022, a major exhibition developed in partnership with the gallery. She co-runs the Liverpool Artists’ Network.
