What kind of year was 2012 for you and your organisation?
It was my first full year as Director so I was getting to know Kettle’s Yard and Cambridge again (I was Assistant Curator for a year in the 1980s – my first job). I love Kettle’s Yard, the city and the sense of continuity in the University of Cambridge: remarkable people are still doing remarkable things that have the potential to change the world. In 2012 we presented some very successful exhibitions with Alfred Wallis attracting more than 12,000 visitors. We also introduced the Castle Hill Open Day in September – an opportunity to reveal the heritage, history and culture of this fascinating part of the city. We made a big decision in 2012: to seek to undertake a larger capital project in 2015/16 that will include our planned education wing, rather than build the education wing now. We have a rare opportunity to renew the whole Kettle’s Yard site, with beautiful remodeled galleries and much better services for visitors. I have been grateful all year for much helpful advice, good will and support in moving towards this decision.
What has changed for the better and what, if anything, has changed for the worse?
The Kettle’s Yard house and collection feel like they are becoming more significant as time goes by. When I take visitors round I am especially aware of how radical Kettle’s Yard must have been when it opened in 1957 and how radical it still is. Jim Ede (who created Kettle’s Yard) was friends with the avant-garde artists and writers of his time. They were consciously searching for new artistic languages in an era of war and extreme change. I think this radical current at the heart of Kettle’s Yard continues to be relevant and powerful, especially given we are part of one of the world’s leading research universities. It has also been good to get to know colleagues across the other seven university museums. There are tremendous opportunities to reach new audiences and communities through programmes which cross disciplines and timeframes and exploit new technology. The support of Arts Council England for our Connecting Collections programme will enable us to make changes to how we work together locally, enhancing our collective national and international impact. Has anything changed for the worse? Perhaps Cambridge is a bit of an exception, but it all seems positive, with everyone involved in arts and culture working more closely together than before and with a real sense of the potential.
What do you wish hadn’t happened in 2012?
I wish there was not such a need to be constantly vigilant about Government policy for the arts and culture. I don’t think the issue is about whether ministers ‘get the arts’ – the majority do, including its economic value. The issue is how that is translated into policy whether in relation to schools, at local authority level or in relation to the Arts Council. A confident nation needs to have confidence in its arts and culture – so they are at the heart of learning, contributing to local change, with an Arts Council fully empowered to work with and support artists and cultural leaders.
What do you wish had happened in 2012 but didn’t?
In recognition of the huge success of the Cultural Olympiad, the Government announced a long-term commitment to increasing investment in arts and culture. Instead there has been a cut.
What would you characterise as your/your organisation’s major achievement in 2012?
Becoming a more outward looking and engaged organisation with a renewed vision.
Is there anything you’d like to have done but haven’t?
Of course! But we have plans – especially for creating long-term programmes with young people and local communities.
What would make 2013 a better year than 2012?
If we can continue to innovate, collaborate with new partners, including internationally, and open up Kettle’s Yard to even more people.
