Peter Bromley

1. Peter Bromley

2. Arts&Heritage • Became new Arts Council England NPO Sector Support Organisation in April 2018 • Promote the contemporary arts within the heritage sector, advocate and advise museums/heritage organisations to use artists to bring alive narratives, collections and histories in new and unexpected ways • Demonstrate that by commissioning artists to respond directly to locations, place and collections attracts a new audience to museums and a new audience to the arts • Develop peer to peer learning within the heritage sector and create a curatorial forum for those working in this way

3. Meeting Point • Initially funded through ACE Museum Resilience Fund now part of our core programme as a Sector Support Organisation • At end of 2022 we will have worked with 43 museums • How to commission an artist, writing artist’s briefs, creating budgets, press and marketing support and evaluation • Visits to artists studios and meeting curators and museums who have commissioned/are commissioning contemporary work • Commission an artist in response to place, narrative and situation

4. Examples of our workMeeting Point museums and their artist response Dales Countryside Museum Hawes Architectural pontoon floating in Lake Semerwater and weekend festival Artist David Murphy

8. Norton Priory, Runcornremains of 12th century abbey Commissioned David Appleyard for their Ice House- time based work

12. Hexham Old GaolNorthumberland Commissioned Matt Stokes in collaboration with Richard Dawson Cinematic work with new performed ballads

17. Lion Salt Works, Cheshire Commissioned choreographer Martin Hylton resulting in VCR work

21. Bronte Parsonage MuseumHaworth, Yorks Commissioned textile artist Lynn Setterington to make a new work for the landscape

25. Chetham’s Library Manchester Brass Art: installations throughout the library

28. Newcastle University Mapping Contemporary Art In The Heritage Experience A&H partner in major AHRC research project

29. MCAHE • 5 commissions in heritage locations; National Trust, Churches Conservation Trust, English Heritage. • Susan Philipsz, Mark Fairnington, Matt Stokes, Fiona Curran and 2019 Marcus Coates • Research includes focus groups visiting commissions in sites- heritage visitors/ arts audience/volunteers/ ‘hard to reach/engage’ • Films, final report, conference and exhibition 2019 Hatton Gallery

30. NECP: Case study

31. STAKEHOLDERS John Mowbray and DCC Leader Simon Henig.North East Culture Partnership Co-Chairs • 12 Local Authorities. • 5 Universities. • Colleges and schools. • Chamber of Commerce. • Practitioners and individual organisations: MIMA, ARC, Sage, Woodhorn, Beamish... • Arts Council, Historic England, HLF, … • Patrons include Lauren Laverne, Kathryn Tickell, Gina McKee….

32. ASPIRATIONS: • spread the benefits of arts and heritage further to make sure everyone benefits • broaden access to culture for children andyoung people, to bring benefits to future generations. • attract and retain the very best cultural and creative talent; provide routes for progression. • support economic growth and job creation, and attract more visitors to our region. • build on and develop our distinctiveness of place and our rich natural and historic environment.

33. KEY DATA: 1 • The creative and culture industries are worth £1,660m in Gross Value Added (GVA) to the 2015 North East Economy, 3% of total GVA. • In 2015 there were 3.8m overnight trips by British residents to the North East. These generated £710m in revenue for the region. • In 2014, heritage tourism generated £484m of domestic and international spend. • Between 2009 and 2014 the number of organisations operating in the sector rose by 1.5% and employment by 1.8%. • NE cultural organisations are working with 61 countries at present (31% of the countries in the world)

34. KEY DATA: 2 • In 2014, there were 70,000 jobs in the cultural and heritage sectors in the North East. • People are employed in 4,600 organisations, an average of 6 employees per organisation but 7.7% work independently. • In the 2014/15 academic year there were 36,525 students studying creative and heritage courses in the North East. • Repair and maintenance of historic buildings in the North East directly generated £237m in heritage-related construction. • Between 2005/6 and 2014/15, the Heritage Lottery Fund invested over £196 million in heritage projects across the North East.

35. A NEW NARRATIVE FOR THE NORTH EAST • Explore new ways of embedding culture in to a wider agenda – social prescribing; literacy and numeracy; well-being; paths to work. • Culture as part of the story and global reach of the region – the internationalisation of the region. • Tell the story in a creative way – link with writers and artists from the region to talk to ourselves and the rest of the UK. • Embed Case for Culture in the regional, national and international policies for culture and heritage and in socio- economic strategies; • A chance to develop a new way of doing business

36. SOME ACHIEVEMENTS • Increase in NPO/SSO expenditure in the North East. • Creative Fuse award to Newcastle University for research and delivery programme. C£2 million in total. • Great Exhibition of the North. • Annual Forum with c200 attendees. • Highest pro-rata award for Great Places Schemes. • Culture embedded in both LEP strategies – Strategic Economic Plans. • Health and Culture working groups meeting regularly. • Children and Young People pledge launched and active. • Collation and standardisation of key data/measurement • Tees Valley Combined Authority committed £300k to culture. • Seven active sub-groups led by sector.

37. AND WHAT HAVE THEY SAID…. • “Case for Culture is a template for other regions…it is a framework for the forthcoming white paper on culture” Rt Hon. Ed Vaizey. (Former) Minister for Culture and the Digital Economy • “Case for Culture is an exemplar…” Heads of Arts and Heritage at DCMS • “The North East Case for Culture shows what can be achieved by regions when partners work together” 2016 White Paper on Culture