MEASURING THE EXPERIENCE #39
This also raises the issue for the arts funding system as regards future investment in the work of artist-led organisations. The commitment of artists to achieving artistic vision has resulted in a considerable amount of valuable work being achieved on low resources. It could be argued therefore that directing additional resources to this area of work would help to avoid the ‘burn out’ in artists which is caused by an over reliance on voluntary work, and would represent a good return in terms of providing an on-going stimulus to the arts environment overall. An assessment of the level of funding which is required to enable artist-led organisations to sustain and develop their artistic practice and achieve their potential would therefore be timely.
However, making increased support conditional on creating permanent institutions may be counter-productive. Because artist-led organisations tend to grow up in response to a particular situation and are seeking to influence and make changes to that situation, it is reasonable to assume that will last only a short time, and the artists move on to work in new contexts. Such groups should not nevertheless be considered as failures, nor financial support be regarded as a waste of money by those who championed the groups. It may be, though, that it will be worth investing again in the key artists, not least because they have demonstrated they are capable of finding creative and original solutions to aspects arts delivery.
Although they are hard-pressed in terms of work-load, it would be beneficial for arts officers to look for ways of locating artists-led practice as a whole within their arts strategies, rather than dealing essentially with specific groups which they fund. This might be achieved by encouraging forums at which ideas and projects are discussed. By offering advice and suggesting useful contacts, groups would be provided with moral support for their work, even if cash grants were not always available.
The large new sums available to the arts through the National Lottery are set to have a huge impact on future arts provision overall in the country and this presents particular challenges for artist-led ventures. As the case studies show, this source is highly significant to artist-led studio and resource-based ventures which previously had access to few sources for capital development.[1] Undoubtedly, lottery awards have been invaluable to a group like Artspace Bristol which has been able to use the grant in conjunction with other funds already raised to progress a development strategy which has been honed over many years and which, so far, has remained broadly in tune with the needs of the artist-constituency. This group’s success will encourage other existing groups to follow suit. At the same time, the arts funding system has noted Artspace’s success and, recognising that studio provision plays a major part in the retention of artists in an area, is encouraging artists to form into groups and follow their example.
[1] The Foundation for Sport & the Arts has been a good supporter of artist-led ventures and between 1992 and 1996 awarded £662,705 for studio and resource development. In comparison, National Lottery funds through the Arts Council of England has already provided almost £2.4 million for similar activities.
