Oliver Bliss Arts Management Gatekeepers or open access: Does the process for selection for public collections

offer the best opportunity to reflect diversity in society? Historically collections grew through the personal interests of wealthy individuals. Since the 1900s public funding has been a major contributor to the art market and this review considers how spending decisions are made based on the decision makers attitudes to social diversity. Challenges experienced by artists wanting to enter the arts market are explored. This literature review will also be exploring systems and professionals who permit or restrict access to an artists progression within contemporary visual arts. Because the motives of collectors in the public and private sectors are different, the focus here is organisations receiving public funding from tax payers. Art Council England (ACE) has been a significant influential force in setting standards when considering diversity within artistic practice. Public funded bodies have to be mindful of the Equality Act 2010 because it protects the following characteristics: Age, disability, gender reassignment, and civil partnership, pregnancy and maternity, race, religion or belief, sex, sexual orientation. (Legislation.gov) The Equality Act means that there is a duty for public bodies to consider and apply fairness and equality, especially in making decisions or policies such as ACE. I have focused my examples to refer to representation of sex and sexual orientation. The Gate keepers

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Morris Hargreaves-McIntyres report Taste Buds 2004, identified the art eco-system model which illustrates an artists journey into the arts market (Figure 1). Figure 1

The model provides an overview of those who determine artists' trajectories as they accrue endorsement or subscription. These institutes or gatekeepers included: Academics, curators, dealers, critics, and buyers, provide advocacy and endorsement for an artist's work through exhibitions, critical appraisal and private and public purchases. (Hargreaves-McIntyres 8) Arts Council England Ensuring Equality and diversity is a concern for ACE. Mahamdallie 2010 discusses how a new conversation is needed to ensure that diversity is fully integrated into the

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agenda of any artistic programming and collecting. He cites Fosters audit of Tate collections as an example of women artists previous inequality and lack of recognition. Foster found that women made up fewer than eleven per cent of the artists represented in the Tate (there were 316 women and circa 2600 men) and they only represented around seven percent of the collection (Mahamdallie 119). ACE is not only concerned with diversity in collections but among its workforce: We will support leadership and the development of a more diverse workforce in the visual arts. We will work with partners, to ensure there is an improved range of pathways into the profession particularly those from culturally diverse backgrounds. We will help create more mobility between national and regional organisations Arts Council England ,Visual Arts policy, (2006 7) A culturally more representative workforce offers ACE more natural opportunities to tap into diversity across the country. We want to see a more confident, diverse and innovative arts sector which is valued by and in tune with the communities it serves. Arts Council England, Arts policies, Developing arts practice and engagement, (2006 4) I would like to see diversity at the heart of everything culturalnothing can be excellent without reflecting the society which produces and experiences it. (McMaster 2008 11)

A male dominated arena and alterative voices

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Although policies have been put in place to promote equality and diversity the white male gaze has historically, and continues to, dominate the arts scene. Parker and Pollocks 1981 Old Mistresses discussed how the Director, curator, artist and even spectators of the artistic realm were predominantly male (115). male establishment not only determined the criterion of greatness but also had control over who had access to the means to achieve it. (Anderson, 1992, 14) Whithers 1988,What do These Artists Have In Common? (Figure 2), listed contemporary male artists who collaborated with galleries that showed no more than 10% women artists or none at all Their early works as a group effectively scolded male artists, art galleries and critics for their meagre or non-existent commitment to women artists. (1988 285-300) Figure 2: First Guerrilla Girls poster, first appeared in New York in 1985.

The Guerrilla Girls was a group who reacted against the absence of women artists within gallery spaces. Founded in the mid-eighties their first poster campaign was

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distributed in the public sphere within the streets of New York. While they claimed to doing a public service by challenging male dominance, artists such as Silvia Kolbowski questioned the motives of this group commenting that they are not questioning the market place. They are accepting the validity of the institutions and structures.... Whats missing is the critique of these structures (Whithers 1988, 300).

Araeen, 2010 introduces the notion of a master and slave relationship. By this he means that those in a position of power dominate and are referred to as masters, those without power who have to adopt the rule of a master are slaves. Master and slave can indeed speak to each other, both have their voices, but only one has significance- that of the master. The master can speak even with the voice of the slave and sympathetically represent the predicament of the slave. But the slave must not claim any subjectivity or agency that might threaten or undermine the power of the master. (23) Returning to Fosters report on the Tate collection Foster was told that:

The Tates position on gender equality was that the collection was just a natural reflection of art history, and that the situation would change naturally (Foster op cit.). The Tate, as an institution has taken the role of master and has absorbed the voice of the female slave, by justifying their position in accepting that women have been excluded from their collection. Women, although compraising 50% of the population find it difficult to get their voices heard, minority groups must not be forgotten because they find it just as problematic. Homosexuals are a minority in the population and to a certain extend

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are a marginalised group who, along with all other minority groups, struggle to get their voice heard. Elmgreen and Dragset in Alonzo, Bieber, and Krohn 2011 say that the artists may produce work which reaches a gay audience and it is important to create something that connects with a certain definite identity it is also important to create a certain increased understanding for that identity in wider social spheres ( 46) A New Vision: Equality, Change and Selection

Mahamdallie (op cit.) As a Senior Strategy Officer for ACE, discussed his three point approach for progressions of change. First, Equality means, removal of barriers in the arts to allow artists to realise their potential. Second, Recognition through the resituating diverse artists both historically and theoretically at the centre of British art. Thirdly, creating A New Vision he says there must also be the construction and dissemination of a new framework that takes it out of negative or deficit model Diversity becomes not an optional extra but part of the fabric of our discussions (105-106).

However Mahamdallie does not include a framework for input from the general public in future discussions. His is a top down approach where information is disseminated down to organisations and out to the general public. Ultimately this still excludes those outside positions of power in established institutions. Without giving the public the opportunity to contribute equally within this framework, the public funders remain slaves and ACE, continues to dictate as the master.

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The 2011 Liverpool Biennial of Contemporary Arts publication, Touched an interview contributor Lynn Hershman-Leeson, in conversation with Alison Rowley (RAW!WAR website, partnership funding with Stanford University Libraries) discussed the fact that Rowleys work aimed to inform the public about dangers of censorship, prejudice and freedom of expression( 52). Rowleys work strives toward making others understand the importance of the history of womens paralysing struggle for visibility in the art world which she describes as an inspiring story of freedom, despite the existing politics, oppression, discrimination and over-riding attempt at historical erasure (54) Rowleys ambition for her website is that it is a vehicle for a democratic, self-curated, global collection of work, where future generations are able to add their voices, art, stories and information into an on-going collaborative archive(57). Rowley recognises the new growth opportunities for artists to exhibit work. This open resource allows artists to contribute without restriction of institutions which previously oppressed the likes of the Guerrilla Girls. This approach alters Rowleys position as master because, although she has created a forum for others, she has handed over the power the public to contribute and build its future. This creates an open platform for the wider public to enter which address part of the imbalance of power of the artist (slave) and the gatekeeper (master). Haregreaves-McIntyre 2004 highlights the limitation of the internet for those intending to sell work; although it is efficient is in raising awareness and at selling well-branded editions. When it comes to original works, most buyers want to see work 'in the flesh'. Successful internet sellers tend to also work in partnership with physical galleries. (18)

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Rowley aimed to create a forum for artists to enter without restriction from a gatekeeper. The intention of her website is to allow open access to all artists however; they would have to find other routes to generate income because work cannot be viewed in person. Economic sustainability Snoddy 2006 raised the issue of buying of contemporary art and said that for managers it should be considered at the top of their institutions agendaAn early purchase of an artist's work can be of immense economic value. (16-17) He believes that directors have a responsibility to play a positive role in a leading a region's aspirations in cultural development and social engagement (16-17). His stance on leadership is similarly recognised by Marjorie Allthorpe-Guyton 2003 Buying works of art for a public collection is a responsibility that requires knowledge, diligence and tenacity (6) Snoddy (op cit.) discusses the opportunities for collections to support economic resilience and sustainability for the institution in the longer term, at the same time recognizing that this does not have to jeopardize the integrity of other public duties in the process. I believe strongly that regional museums and galleries must balance their public duties regarding exhibitions, education, interpretation, social inclusion and equality with responsibility for acquiring contemporary art - art that creates a history and a legacy for the future (16-17). He recognised how institutional directors are influential leaders in other areas of the market place. He said that directors have the opportunity to be pioneers in

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discovering new and diverse work through supporting, developing and buying work at the early stage of an artist career. Institutions can gain financial return, build the artists reputation as well as their own and lead the future of the market of contemporary art. However this paper does not discuss how an artists work is identified as a suitable investment. In public organisations funding come from a silent majority who are unable to participate in the decisions to justify which pieces should be brought for long term benefit. Snoddy insists that it is the directors responsibility to make these choices unlike Rowleys RAW!WAR website. Unfortunately the website does not provide storage and maintenance of a physical work of art therefore works cannot been seen or touched by a potential buyer nor can this model save works of art for prosperity, the archive is representational in a digital format. The artist and the collector Mansfield 2010 provides an example of how the role of gatekeepers can support artists and influence an artists career. For example he cites David Hockney acknowledging; his significant contributions to British Pop Art (181), Gordon Burn also acknowledges Hockeys extraordinary raise to fame in the 1960s (Hirst and Burn 2001) Not since the emergence of David Hockney in the early 1960s had a British artist's passage to fame been so rapid and spectacular (41). Hockneys work was collected by a number of curators working with public spaces including, Wolverhampton Art Gallery, Cartwright Hall in Bradford and more significantly the Walker Art Gallery, in Liverpool. Walker Art Gallery is home to the iconic Hockney painting, Peter getting out of Nicks pool which won the 1967 John Moores prize. Hockey was the winner out of 1,813 entries selected by a panel of five

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individuals including John Moore himself (Liverpoolmuseum. 2012). John Moore was concerned with Londons increasing domination of the national arts scene and developed the biennial painting competition as a means to draw focus to the North West. (Mansfield 191). The fact that Hockney was a northern artist having been born in Bradford, may have influenced the panel when considering the winner. In Hockney, John Moore had a worthy winner with a growing national and international reputation. The Walker Art Gallery has automatically added the first prize-winner to its collection since the 1980s (Mansfield 191). This may be due to the realisation that a piece of art can be a significant long term financial investment. Artists, whose artistic interests are, aligned to decision makers aims and interests are more likely to be selected for permanent collections. For example, the John Moores collection has some of Hockneys early work, A 1963 piece sold for 3.28 million in 2005 (Galenson 2005 46) Supporting Snoddys suggestion of the importance of collecting work early in artists career. Unwritten Rules The New Contemporaries, an organisation that selects work to enter an annual exhibition of emerging talent, hold a basic principle of a constant open and democratic exhibition, fundamental belief in a truly democratic selection, without knowledge of school, sex, or age, is based on the premise of fairness where work can, itself, without the anecdotal support of connection and context, triumph. (Craddock, New Contemporaries 2010 3).

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New Contemporaries work is selected from students who are undergraduate and postgraduate, as well as people a year out of art school. Because selectors do not have prior knowledge of the artist, judgement is only made on the basis of work submitted. However, there are unwritten rules that bar certain artists from participation. For example some applicants who were attempting to renegotiate relationships to identity did not get into the final exhibition, because selector Mellor acknowledged: Currently identity politics is perceived to be somewhat dated. Im interested in whats failed, in terms of why it fails. For example, if you are living in some Northern town and you want to deal with class, and you are told thats no longer an issue in this country, I dont know how you deal with that (New Contemporaries 2010 5) If identity politics is of no interest to the selection panel it will not be selected and therefore becomes invisible. Selector Kuri noted that it was inevitable that she reflected on her own practice and saw similar shared concerns in others work, whilst Mellor states that she aims to remove as much subjectivity as possible (New contemporaries 2010 7). Unlike a directors motives for selection, Snoddy (2006) the selector shows conflict between individual perceptions of excellence and how they individually judge merit to artists work. As all the selectors have artistic backgrounds rather being a panel of people from different professional fields, while agreement may be easier it could result in a less diversely representative portfolio because collectively they represent a small segment of society. A panel of professionals from different fields may place importance on other works.

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An attempt has been made to create a system of presenting work for selection that tries to be more democratic in its construction but the weakness in the process overall is that without a truly diverse panel there is little democracy. The public remain excluded from input to the selection process and so selection is dependent on the discrete tastes of the selectors. Unlike the RAW/WAR online exhibition which allows anyone to upload content, New Contemporaries continues to act as institutional gate keepers to who is considered worthy and excellent. Summary The issues that have been discussed demonstrate what a rich and complex area this is. Concepts that have been explored include the exclusivity of the art institutions, funders opportunities for voicing their opinions on how their money is spent, and how to include them in the decision making process, ensuring that there is diversity in the collections that reflect the diversity in society. It is certainly necessary to have knowledgeable and educated decision makers to run the institutions and panels, it is also important to prevent individuals or interest groups from dominating selection panels. Alonzo, Bieber, and Krohn 2011, note Regardless of whether individuals, who are the decisions makers, have the appropriate qualifications, within the system, an individuals presence can be influential through driving their own agenda on selection panels.(5) Another issue that has arisen is the need for compromise with traditionally excluded groups. The Guerrillas Girls group has highlighted the lack of representation from 50% of the population because of the hegemony of men in the art world as artists and buyers. Without such issues being raised the established elite remain unaware

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and lack insight into the need for reform, this was seen in the Tates response to Foster. There are issues for how work is selected, it is usually by expert panel members and all institutions have been criticises for their exclusivity and the limitations of individual panel members. To address this Rowleys established her loosely structured website. Unfortunately this could lead to a model that is oversubscribed but also chaotic with work that is indiscriminately placed. There may be a diminution in the interest because of the lack of discrimination by Rowley if too much poor quality work dominates her site. This is a paradoxical situation for her and it difficult to see how it might be overcome. Directors of institutions need to examine how panel members are selected; they need to ensure diversity rather than a comfortable homogeneity of members from their own class and educational background.

Alonzo, Bieber, and Krohn (op cit.) discuss the fact that the selection process of any given collection can be in danger of non-democratic selection from a privileged or preferred few with relative power ( 5). Snoddys contribution to the discussion on the economics of managing a gallery has inherent tensions. His suggestion that work is bought early in an artists career places a great weight of responsibility on managers to not only spot artists whose work may rise in value, but also predict future trends and tastes. Collecting early work is a gamble. Another tension is the selling of work once an artist is established. Selling a piece, while immediately raising much needed revenue, may be detrimental in the long run, visitors attend galleries to see particular works of art. If key pieces are sold then that may reduce revenue from future visitors.
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Much of the research appears incomplete because it is without the voice of a major funding contributor, the tax payer. It is difficult to see how to directly tap views from the public except to rely on their elected representatives, the politicians; this is why ACE is ultimately responsible to the government of the day. Future research may explore how to engage in a more direct and meaningful way for getting public representation on to selection panels. Regional pilot studies may be a way forward.

Word Count: 3, 193

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Bibliography Allthorpe-Guyton et al, Marjorie. Arts Council Collection Acquisitions 1989-2002, London, Hayward Gallery 2003. Print

Alonzo, Pedro, Bieber, Alain, and Krohn, Silke. Art and Agenda, Political art and Activist. Ed.Klanten et al. Guestalten, Berlin 2011 Print

Anderson, Heather, Art Education, Vol. 45, No. 2, National Art Education Association 1992, 14-22 Print

Araeen, Rasheed Cultural Diversity. Creative and Modernism, Beyond Cultural Diversity the Case for Creativity. Ed. Appigananesi, Richard. London, Third Text, 2010. Print Arts Council England, Arts policies, Developing arts practice and engagement, London 2006 Web. www.artscouncil.org.uk/media/uploads/documents/.../phpiz2yUb.doc 06 Jan 2012 Arts Council England. Visual Arts policy, London 2006 Web. www.artscouncil.org.uk/media/uploads/.../visual_arts_policy.pdf 06 Jan2012 Craddock, Sacha, New Contemporaries 2010, New Contemporaries, London, 2010

Galenson, David Who are the Greatest Living Artists? The View from the Auction Market, NBER No. 11644, Massachusetts, 2005 Web.

http://www.nber.org/papers/w11644.pdf 04 Jan 2012

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Hargreaves-McIntyre, Taste Buds, How to cultivate the art market, executive summary, Ed. Hadley, Janet, Arts Council England, London 2004 Web. http://www.artscouncil.org.uk/media/uploads/documents/publications/tastebudssum mary_php7xDjDe.pdf Hershman-Leeson, Lynn, touched, Ed.Domela, Paul,Liverpool Contemporary Art, Printed DeckersSnoeck, Antwerp, Belgium 2011

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Liverpool Museums. Liverpoolmuseum.org. Johnmoores n.d. Web. 07 Jan 2012http://www.liverpoolmuseums.org.uk/walker/johnmoores/fact_file/fact_file6.aspx Mahamdallie, Hassan Breaking the Code: New Approaches to Diversity and Equality in the Arts. Beyond Cultural Diversity the Case for Creativity. Ed. Appigananesi, Richard. London, Third Text, 2010. Print Mansfield, Laura. Contemporary art society, the guide to public collections of art in the UK, Ed. Byatt, Lucy, the Contemporary Arts Society, London, 2010 McMaster, Brian Supporting Excellence in the Arts: From Measurement to Judgement,Dept. of Culture, Media and Sport, London, 2008 Mulvey, Laura, Visual and Other Pleasures, Basingstoke,Macmillan, 1989

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Parker, Rozsika and Pollock, Griselda. Old Mistresses, Pandora, London, 1981 Snoddy, Stephen Prepare for the future Museumsassociation.org 106/9 2006. 1617 Web. 15 Dec. 2011 http://www.museumsassociation.org/archive Whithers, Josephine, The Guerrilla Girls, Feminist Studies, Vol 14, No 2, Feminist Studies Inc 1988, 285-300

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