Publications

Introduction

Updated for 2008 Research papers, Indexing intelligence is a listing with live weblinks of accessible 'facts and figures', research studies, conference reports, publications and other resources that are pertinent to all those working in the visual arts, compiled and edited by Sheena Etches and Terri Harris.

Sections on Public policy, Artists' contemporary practice, Location & community, Networks and professional development.

1. Public policy

1.1 Evaluation and strategies for measuring impact

The arts festival sector in Yorkshire: economic, social and cultural benefits, benchmarks and development, Philip Long, Elizabeth Owen, Sheffield Hallam University, Arts Council England, 2006.
Reviews the scale of arts festival activity, considers current audience characteristics, and assess the development needs of the sector.
www.artscouncil.org.uk

The economy of culture in Europe, KEA European Affairs, European Commission (Directorate-General for Education and Culture), European Commission, 2006.
Captures the direct and indirect socio-economic impact of the cultural and creative sector in Europe, particularly in terms of realising growth, competitiveness, employment, sustainable development and innovation.
www.cultural-economy.eu

The economic impact of the cultural sector in Scotland, Stewart Dunlop, Christine Hamilton, Susan Galloway and Adrienne Scullion, Scotecon, 2004.
Primary research and literature review of the economic impact of the cultural sector across Scotland with recommendations for Scotland’s cultural strategy and policy agenda.
www.scotecon.net

For art’s sake? Society and the arts in the 21st century, edited Jamie Cowling, IPPR, 2004.
Argues that the arts must develop a robust evidence base that underpins the unique contribution the arts make to society, focusing on mental health, education and offender rehabilitation.
www.ippr.org.uk

Impact database, Centre for Cultural Policy Research, University of Glasgow.
Bibliographical resource of research mainly since 2000 into the social and economic effects of arts, culture and major events, including studies on: arts and culture; arts, culture and education; arts, culture and inclusion; arts and health; arts, culture and audience development; arts, culture and the economy.
ccpr.designiscentral.net

Impacts 08 – The Liverpool Model. Baseline Report 2006/07, Beatriz Garcia, Ruth Melville, Pete Campbell, University of Liverpool and Liverpool John Moores University, Impact 08.
Joint research initiative which evaluates the social, cultural, economic and environmental effects of Liverpool’s hosting the European Capital of Culture title in 2008. The aim is to develop a research model for evaluating the multiple impacts of culture-led regeneration programmes.
www.impacts08.net

A literature review of the evidence base for culture, the arts and sports policy, Janet Ruiz, Social Research and Economic Unit, Edinburgh, 2004, commissioned Scottish Executive Education Department.
Overview of research on the social and economic impacts of culture, arts and sports in Scotland to inform Scottish policy development and future investment.
www.scotland.gov.uk

A literature review of the social, economic and environmental impact of architecture and design, Morris Hargreaves McIntyre, Scottish Executive, 2006.
Gathers evidence of the social, economic and environmental impact of architecture and design, both positive and negative, to inform new design.
www.scotland.gov.uk

London’s culture equation, MLA, 2006.
The second in a series of Economic Impact Evaluation Studies that collate an evidence base to demonstrate the economic value of London’s museums, libraries and archives.
www.mlalondon.org.uk

New directions in social policy: Developing the evidence base for museums, libraries and archives, Burns Owens Partnership, 2005, commissioned MLA.
Assessment of museums, libraries and archives’ contribution to key social policy targets including regeneration, health and cultural diversity.
www.mla.gov.uk

Peer review of Arts Council England, Baroness McIntosh of Hudnall, December 2005, commissioned DCMS / Arts Council England.
Independent review that considered what Arts Council England delivers, its impact and effectiveness and the success of its partnerships.
www.artscouncil.org.uk

Quality of life and well-being: Measuring the benefits of culture and sport – A literature review, Susan Galloway with Nicola Birkin and Christine Hamilton, Centre for Cultural Policy Research, University of Glasgow, Dr Mark Petticrew, University of Glasgow and Prof David Bell, University of Stirling, January 2006, commissioned Tourism, Culture and Sport Group. ISBN 0 7559 2 908 X.
Literature review on the impact of culture and sports participation on individual quality of life (QOL) and well-being, to assist in evaluation of cultural and sport interventions. Explores the difficulties faced in measuring these, and describes methods and results of studies investigating the contribution of culture and sport to QOL and well-being at individual and community level.
www.scotland.gov.uk

Regional mapping and economic impact study of the creative industries in the South West, Culture South West and South West RDA, 2004.
Mapping and economic impact study of the creative industries in South West England.
www.culturesouthwest.org.uk

Staying ahead: the economic performance of the UK’s creative industries, Will Hutton, Work Foundation/DCMS, 2007.
Identifies eight areas as main drivers of the creative industries’ performance: demand, education and skills, diversity, networks, public institutions and investment, business-building capacity, intellectual property, and a level playing field.
www.culture.gov.uk

Voluntary and community arts evaluation toolkit, Annabel Jackson Associates, November 2004, commissioned Arts Council of Northern Ireland.
Provides a consistent and sympathetic method of measuring the social impact of arts groups working in community and voluntary sectors, to help groups enhance their practice and give accurate, evidence-based data in support of advocacy.
www.artscouncil-ni.org

What role do cities play in innovation, and to what extent do we need city-based innovation policies and approaches? Glenn Athey, Max Nathan and Chris Webber. Contributors, Sami Mahroum and Richard Halkett, NESTA, IPPR, 2007.
Presents interim findings from the research project on innovation in cities that the Centre for Cities is conducting for NESTA. The report provides a conceptual framework for understanding the process of innovation in cities.
www.nesta.org.uk

1.2 Public perception

Arts and culture in Northern Ireland 2007, Arts Council Northern Ireland, 2007.
Study to collect and analyse information on consumption, behaviour and public attitudes towards the arts. The previous study carried out in 2004 established a survey baseline and the most recent fieldwork updates that information and facilitates comparison with the 2004 research.
www.artscouncil-ni.org

Arts in England 2003: attendance, participation and attitudes, Clare Fenn, Ann Bridgwood, Karen Dust, Lucy Hutton, Michelle Jobson, Megan Skinner, Arts Council England, 2005.
Findings of a study of attendance, participation and attitudes to the arts in England. The fourth in a series commissioned by ACE, it was carried out by the Office for National Statistics (ONS) between September 2003 and January 2004, using face-to-face interviews with a random sample of 6,025 adults in private households.
www.artscouncil.org.uk

Attendance at, participation in and attitudes towards the arts in Scotland, 2002, commissioned Scottish Arts Council.
Attendance and participation in arts and cultural activities and attitudes towards the arts among Scotland’s adult population.
www.scottisharts.org.uk

Attendance of Museums and Galleries, commissioned Museums Libraries Archives Council (MLA).
Research examines the attendance at museums and galleries in 2006- 2007 including frequency of visits, demographic of visitors and barriers to engagement.
www.mla.gov.uk

Focus on cultural diversity: the arts in England: attendance, participation and attitudes, Ann Bridgwood, Clare Fenn, Karen Dust, Lucy Hutton, Adrienne Skelton, Megan Skinner, Arts Council England, 2003, ISBN 0 7

engage 19 – Diversity, Karen Raney, engage, 2006.
Reviews current strategies for embedding diversity in art institutions. Considers how gallery educators, artists, curators and funders engage with the diversity agenda, where the discussion needs to go and what the obstacles are.
www.engage.org

European cultural policies 2015 – A report from scenarios on the future of public funding for contemporary art in Europe, edited Maria Lind, Raimund Minichbauer, International Arts Studio Programme in Sweden (IASPIS), 2005.
Predicting likely developments in European cultural policy over the next decade.
www.iaspis.com

From access to participation: Cultural policy and civil renewal, Emily Keaney, IPPR 2006.
Explores relevance of the ‘civil renewal’ agenda to cultural policy and contribution that cultural participation does or could make to civic life.
www.ippr.org.uk

International journal of cultural policy, Routledge, print ISSN 1028 6632, online ISSN 1477 2 833.
Subscriber only service. Three issues annually, provides outlet for an interdisciplinary and international exploration of the nature, function and impact of cultural policies. Reflects broad view of cultural policy, encompassing culture as a ‘way of life’ as well as culture in the narrower sense of the arts and cultural industries.
www.tandf.co.uk

McMaster Review: Supporting excellence in the arts – from measurement to judgment, Sir Brian McMaster, DCMS, 2008.
Reviews the system of public sector support for the arts and how it can encourage excellence, risk-taking and innovation. How artistic excellence can encourage wider and deeper engagement with the arts by audiences.
www.culture.gov.uk

The methodological challenge of cross-national research: comparing cultural policy in Britain and Italy, Eleonora Belfiore, Centre for Cultural Policy Studies, 2004.
Explores methodological issues that need to be considered when embarking on cross-national cultural policy research.
www2.warwick.ac.uk

MLA Partnership 2012 Setting the Pace, MLA.
Outlines MLA’s proposals for five projects which will help deliver the Cultural Olympiad, and have a transformational impact on the arts sector.
www.mla.gov.uk

A new landscape for the arts, Sir John Tusa, Conservative Party, 2007.
The Conservative Party’s Arts Task Force’s submission to The Shadow Secretary of State for Culture, Media and Sport.
www.artstaskforce.co.uk

A passion for excellence, Local Government Association, DCMS, 2008.
An improvement strategy for culture and sport. This strategy is about local government working with local partners to improve the quality of life locally and improve the delivery of cultural and sport services to local people.
www.artscouncil.org.uk

Planning for equality? Decentralisation in cultural policy, Nobuko Kawashima, 2004.
Examination of theoretical and practical issues related to ‘decentralisation’ in cultural policy, with a focus on the British experience.
www2.warwick.ac.uk

Publicly-funded culture and the creative industries, John Holden, Arts Council England, 2007, ISBN 978-0-7287-1352-9.
Explores the relationship between publicly-funded culture and the creative industries.
www.artscouncil.org.uk

Regional Cultural Consortia
Regional Cultural Consortia and the Cultural Strategy Group in London champion the spectrum of cultural and creative interests, including tourism and sport, to create a common vision expressed in a cultural strategy for each region. For information see:
Culture North East
www.culturenortheast.org
Culture Northwest
www.englandsnorthwest-culture.com
Culture South East
www.culturesoutheast.org.uk
Culture South West
www.culturesouthwest.org.uk
Culture West Midlands
www.culturewm.org.uk
Living East
www.livingeast.org.uk
London Cultural Consortium
www.london.gov.uk
Yorkshire Culture
www.yorkshire-culture.co.uk

Turning point, Arts Council England, 2006.
Outlines Arts Council England’s strategy for contemporary visual arts for the next ten years. Launched in June 2006, the strategy builds on existing investment and the success and impact of contemporary visual arts. Covers spaces and resources for production and presentation, including workforce and employment development, in order to meet the needs and aspirations of artists, audiences and participants.
www.artscouncil.org.uk

The following portfolio of research informed the Turning point strategy:

Review of the presentation of contemporary visual arts, Part 1, Analysis and recommendations, Tessa Jackson and Marc Jordan, January 2006, commissioned Arts Council England.
Details nine policy recommendations and thirty-four action points to be achieved through cross-sectoral partnerships strengthened by formal memoranda of understanding, regional development strategies and joint programmes.
www.artscouncil.org.uk

Contemporary visual arts activity, Burns Owens Partnership with Experian Business Strategies, 2005, commissioned Arts Council England.
Examines the spread and level of resources and the impact these have on programmes, audiences and artists. Additional reports provided case studies of North West and North East London and education and diversity.
www.artscouncil.org.uk

Working in the presentation of the contemporary visual arts – key challenges for the sector, Robert Lindley and Sheila Galloway, Centre for Educational Development, Appraisal and Research/ Warwick Institute for Employment Research, August 2005, commissioned Arts Council England.
Data on employment conditions and diversity in contemporary visual arts organisations, with comparators to theatre, broadcasting and media, and visual arts in Germany.
www.artscouncil.org.uk

Participation in higher education in art and design, CHEAD, 2006, with Arts Council England.
Data on widening participation in higher education in art and design including the extent of diversity among students who might be expected to seek careers in the visual arts and creative industries.
Copies from Anne Vince, Secretary, CHEAD, avince@chead.net

The impact of contemporary visual arts in the public realm, Prevista, 2006, commissioned Arts Council England.
Analysis and case studies to illustrate the impact of contemporary visual arts in the public realm. Also published under the title of The power of art, visual arts: evidence of impact, regeneration, health, education and learning.
Unpublished but available on request from turningpoint@artscouncil.org.uk

The UK cultural sector: Profile and policy issues, Sara Selwood, Policy Studies Institute, 2001, ISBN 0 85374 789X.
Covers the value and conditions of the subsidy that the sector receives and the arts and cultural forms receiving it, at a time when the sector receives more funding than ever before.
www.psi.org.uk

1.6 Public value and the arts

Capturing cultural value – How culture has become a tool of Government policy, John Holden, Demos, 2004, ISBN 1 84180 139 9.
Response to Tessa Jowell’s essay (see below) proposing a wholesale reshaping of the public funding of culture.

2.1 Artists’ approaches

a-n Collections: Beyond the UK, edited Chris Brown, a-n The Artists Information Company, 2006, ISBN 0 907730 62 0
Exploring the impact of international experiences on artists’ practice.
www.a-n.co.uk

a-n Collections: Collaborative relationships, edited Rohini Malik Okon, a-n The Artists Information Company, 2005, ISBN 0 907730 56 6
Studies that explore the mutuality of a working relationship between artist and organization with commentary on how contemporary practice is best supported.
www.a-n.co.uk

Close proximity, edited Jonathan Swain, a-n The Artists Information Company, 2005
Online publication addressing the changing identity of areas in the shadow of London’s ‘commuter belt’ in relation to artists’ practice.
www.a-n.co.uk

CRUMB
Website with new media curating bibliography, documentation of events and discussion lists for independent and institutional curators, producers, technicians, and commissioners of new media art.
www.crumbweb.org

Future forecast: Curated space, edited Manick Govinda, a-n The Artists Information Company, 2005, ISBN 0 907730 61 2
Part of a UK enquiry into artists’ future practices and resources, interviews address artists’ strategies and interventions within curatorial practices.
www.a-n.co.uk

Future forecast: Outer space, edited Esther Salamon, a-n The Artists Information Company, 2006, ISBN 0 9077330 63 9
Part of a UK enquiry into artists’ future practices and resources, interviews with cultural, political and arts professionals and the media investigate interfaces with artists’ practice.
www.a-n.co.uk

Future forecast: Social space, edited Becky Shaw, a-n The Artists Information Company, 2005, ISBN 0 907730 51 5
Part of a UK enquiry into artists’ future practices and resources, interviews explore artists’ motives and intentions for socially engaged practices.
www.a-n.co.uk

The Independent art school
Has functioned since 1999 as an alternative university with no home, publishes an online journal with writings from conferences and events across a range of subjects. Brings together artists of divergent viewpoints with researchers in non-artistic fields to expand artistic dialogue and opportunities for artists.
www.independent-art-school.org.uk

Interrupt symposia, Arts Council England, 2003
Series of events to stimulate debate around the central question ‘Where does socially engaged, participatory and education arts activity stand within current debates around contemporary arts practice?’, with transcripts, publication lists and papers collected online.
www.interrupt.org.uk

Leading through practice, Anne Douglas and Chris Fremantle, a-n, 2007
Artist as Leader is a programme that aims to understand the ways artists lead through their practice with a view to informing and developing a critical understanding of the role of creativity in culture.
www.a-n.co.uk

Perspectives on Practice, (Ed) Tom Burtonwood, 2006
A survey of writings spanning six years from a range of UK-based artists and writers. The selected articles illustrate the impact a-n has had as a vehicle for foregrounding developments in artists’ practice and strategies.
www.a-n.co.uk/an_docs/290412.pdf

Production Lines, (Ed) Charlotte Frost, a-n, 2008
Guide to the various pathways dedicated organisations are forging in the production of inter-disciplinary visual arts. It indicates the types of activities involved, art forms which respond well to this style of collaboration and some of the difficulties experienced by production agencies in working in this way.
www.a-n.co.uk/an_docs/422536.pdf

Shifting Practice, (Ed) John Beagles and Paul Stone, 2005
Provides a range of subjective, geographically and artistically distinct viewpoints, which highlight some of the key, recurring challenges for artist-led organisations.
www.a-n.co.uk/an_docs/262937.pdf

ten two zero zero five, (Ed) Deborah Smith, 2005
An exploration of modes of dissemination for contemporary cultural practices.
www.a-n.co.uk/an_docs/262935.pdf

The art of blogging, (Ed) Jane Watt, a-n, 2008
Collection about Projects unedited, a-n’s online series of artists’ blogs. It is a mediated form that encourages reflection and reconsideration of particular issues.
www.a-n.co.uk/an_docs/406941.pdf

The dream that kicks, (Ed) Mario Fusco, a-n, 2006
Explores transdisciplinary practice.
www.a-n.co.uk/an_docs/321229.pdf

We did stir things up: Artists in sites for learning, Emily Pringle, Arts Council of England, 2002
Analysis of ACE’s Artists in Sites for Learning (AISFL) scheme supporting artist-led visual arts projects in cultural and educational settings as the starting point for enquiry into these creative practices and pedagogic approaches.
www.artscouncil.org.uk

What is visual intelligence and how do artists use it?, Rebecca Fortnum, January 2005
Explores how visual artists think and make, and the relationship between their thinking and making, identifying that most visual artists make a number of decisions whilst making their work that aren’t purely conceptual or only to do with material and technique but lie in relationships between them.
www.visualintelligences.com

Year of the Artist: Evaluation of the programme in England, Lucy Hutton, Clare Fenn, Arts Council of England, 2002, ISBN 0 7287 0892 2
Regional and national evaluations, providing an overview of how the year was managed, and issues arising, and insights for those planning similar events.
www.artscouncil.org.uk

3. Location and community

3.1 Artists in education

2.68, Rick Rogers, Siobhan Edwards, John Steers, Clore Duffiled Foundation, 2001.
Highlights the significant decrease seen in spending on art resources in schools in England and Wales over the 6 years leading up to the report. Report also highlights significant gaps in ICT provision for art & design, barriers preventing pupils from selecting the subject at GCSE and the low numbers of primary schools working with galleries and museums.
www.art-works.org.uk

The arts-education interface: a mutual learning triangle?, John Harland, Pippa Lord, Alison Stott, Kay Kinder, Emily Lamont, Mary Ashworth, NFER, 2005, ISBN 1 903880 95 5.
Exploring the impact of artists working in educational settings through arts-based interventions organised in the education action zones of Bristol and Corby. Identifies factors that affect outcomes for pupils, teachers and artists and discusses the implications for practice and policy within artists in education, and stresses the importance of mutual learning between pupils and young people, teachers and schools, and artists and art organisations.
www.nfer.ac.uk

Culture and learning consultation paper, John Holden, DEMOS, 2008.
Consultation paper which challenges cultural professionals and educationalists to provide a new and coherent direction for creative learning and for encouraging creativity through culture.
www.demos.co.uk

engage 18 Research, Karen Raney, engage, 2006.
Looks at research methods used in the visual arts including research in gallery education, the role of the gallery director and considers how academic research gets fed into a gallery context and current thinking about fine art practice as research.
www.engage.org

Impact assessment – A study of critical factors in creative projects, Creative Partnerships.
Exercise identifying the critical factors when planning and delivering school-based projects from the perspective of school, staff and artists.
www.creative-partnerships.com

Inspiration, identity, learning: The value of museums: Second Study, Eilean Hooper Greenhill, Jocelyn Dodd, Claire Creaser, Richard Sandell, Ceri Jones and Anna Woodham, DCMS, 2007.
A summary of the independent evaluation by the University of Leicester of the DCMS/DCSF funded national and regional museums partnership programme of education work in 2006-07.
www.culture.gov.uk

International Journal of Art & Design Education, NSEAD.
Provides an international forum for the dissemination of ideas, practical developments, and research findings in art and design education. A primary source for independently refereed articles about art and design education at all levels.
www.nsead.org

School art: What’s in it? Exploring visual arts in secondary schools, Dick Downing and Ruth Watson, Arts Council England in association with Tate, 2004, ISBN 1 903880 874.
Explores the content of the secondary school art curriculum, examines approaches taken by different teachers and schools and discusses whether there is a place for contemporary art practice.
www.nfer.ac.uk

Space for art, Rick Rogers, Clore Duffiled Foundation, 2003.
Investigation into the ideal art education spaces within schools, galleries and museums.
www.art-works.org.uk

Study of the impact of Creative Partnerships on the cultural and creative economy, Burns Owens Partnership, Creative Partnership, 2006.
The aim of the study is to investigate three areas of Creative Partnerships’ impact: the market for creative products and services; individual practitioners and firms; and local and regional economies.
www.creative-partnerships.com

The big sink, Rick Rogers, Siobhan Edwards, Fiona Godrey, Clore Duffiled Foundation, 2002.
An investigation into the ideal spaces for creative, and specifically visual arts, explorations in schools, galleries and museums.
www.art-works.org.uk

3.2 Social change

Access, participation and progression in the arts for young people on training and detention orders, Research Report 38, Arts Council England, 2005.
Examines how young people on Detention and Training Orders could access, participate and progress in the arts.
www.artscouncil.org.uk

The art of inclusion, Helen Jermyn, Arts Council England, 2 004, ISBN 0 7287 1042 0.
Presents findings of research on social inclusion in the arts.
www.artscouncil.org.uk

The arts health and well being, Arts Council England, 2007, ISBN 978-0-7287-1338-3.
The Arts Council England’s first national strategy for the arts, health and wellbeing.
www.artscouncil.org.uk

The arts in criminal justice – A study of research feasibility, Andrew Miles and Rebecca Clarke, DCMS, 2006.
Investigates the cultural and practical barriers to carrying out robust research. The researchers studied projects run by five arts organisations that regularly work with offenders (Clean Break, Dance United, Connections, Rideout and TiPP).
www.culture.gov.uk

Arts matters, Angela Watson & Associates, Arts Council England, 2006, ISBN 0-7287-1294-6.
Documents the positive contribution that the arts can make to children and young people. It aims to bring greater understanding of how the arts can help to achieve the outcomes of government agendas Every Child Matters and Youth Matters.
www.artscouncil.org.uk

Bridge conversations
Part of a series of 18 conversations commissioned by the Center for Civic Participation’s Arts & Democracy Project and the Community Arts Network. They illustrate how some of the most creative strategies for positive social change live in the intersections of disciplines, sectors, cultures and generations.

On innovative approaches to linking nonprofit and for-profit models, Adam Forest Huttler, Community Arts Network, 2008.
www.communityarts.net

On the interweave of culture and ecology, Caron Atlas, Community Arts Network, 2008.
www.communityarts.net

Community arts 2007: A muscular year, Linda Frye Burnham, Community Arts Network, 2008.
A review of community art in 2007. Significant movement took place in several community arts sectors: national cultural organising, community arts in higher education, arts in criminal justice and youth arts.
www.communityarts.net

Count me in – Research project on social inclusion through culture and sport, Leeds Metropolitan University Centre for Leisure and Sport Research, DCMS, 2002.
Study of fourteen projects addressing the effects of social exclusion in education, health, employment and crime, through arts- and sports-related activities, establishing common core principles and aspects of good practice for future reference, to inform DCMS social policy objectives and initiatives.
www.culture.gov.uk

Creating a national accredited framework for artists wishing to work in the criminal justice sector, Pauline Gladstone, Arts Council England, 2005.
Description of the creation of a framework for the professional development of artists wishing to work in the arts and criminal justice sector.
www.takingpartinthearts.com

Doing the arts justice – A review of the research literature, practice and theory, Jenny Hughes, Unit for Arts and Offenders, 2005.
Strengthens the evidence base for the effectiveness of the arts within criminal justice by providing a clear account of current evidence and theory base for the sector; includes visual arts and film section.
www.culture.gov.uk

Artists’ studios: creating public benefit – the community, cultural and socio-economic benefit created by affordable studio organisations. Two London case studies, Susie O’Reilly, Acme and Capital Studios, Acme, 2006.
Provides information about the public benefit affordable studio providers and their tenant-artists achieve. It provides examples of how artists support their practice by working in education, training and community development and how this helps to address social exclusion, offender, health and learning issues.
www.acme.org.uk

Artists’ studios: a guide to securing, supporting and creating affordable studios in London, Val Millington, Acme and Capital Studios, Capital Studios, 2006.
Information on affordable studio providers in London, and their contribution to the cultural and economic life of the capital. Using case studies and examples it provides guidance on how to achieve sustainable studio developments and provides a list of studio organisation contacts and sources of help and advice.
www.acme.org.uk

Commercial workspace provision for visual artists – a comparison with the affordable sector, Michael Cubey, Acme and Capital Studios, 2006.
An examination of rent levels and terms and conditions offered by commercial workspace providers in ten London boroughs and compares them with those offered by affordable studio providers. In doing so, the study provides evidence of the significant subsidy that studio providers make to artists and the visual arts economy in general in London.
www.acme.org.uk

Creative Yorkshire: visual artists in shared workspaces – resources and facilities, University of Leeds, Creative Yorkshire, 2005, ISBN 0 7287 1047 1.
Profile of the shared workspaces and related services used by visual artists and craftspeople in the Yorkshire and Humberside region. Characterises activities and professional motivations of artists and identifies development priorities.
www.artscouncil.org.uk

London Digest; a survey of artists’ studio groups and organisations in London, Acme and Capital Studios, Acme Studios, Capital Studios, 2006.
Key facts about affordable studios in London drawing attention to the number, scale and diversity of studio organisations in London, suggesting how many studios are likely to be under threat in the coming five to 10 years, and providing a useful benchmark of affordability.
www.acme.org.uk

Open studios – a gem worth polishing, Paul Glinkowski, Arts Council England, 2003.
Highlights the value of open studios for artists, audiences, local arts and economic and social developmental strategies. It introduces key findings from recent research and outlines a range of case studies. It also provides a listing of open studio events from around England.
www.takingpartinthearts.com

A register of artists’ studio groups and organisations in England, Acme, 2006.
The second edition of Acme Studios’ register of artists’ studio groups and organisations in England, the first national database of affordable studio providers.
www.acme.org.uk

Shaping artists’ spaces, a-n The Artists Information Company, May 2006.
Paper for ‘Sensi/Able Spaces – Space Art and the Environment’ conference, Reykjavik 2006.
www.a-n.co.uk

Studio organisations: charitable status and constitutional structures, Michael Cubey, NFASP, 2006.
Snapshot of the types of studio groups and organisations the NFASP will be supporting through its membership services. It looks at their different types of company / organisational structures, and charitable status, with a view to establishing the range of possible models studio groups might adopt and their benefits and drawbacks.
www.nfasp.org.uk

Supporting artists’ workspace, Janet Hadley, Arts Council England, 2004, ISBN 0 7287 1038 2.
Describes proceedings of three conferences in July 2003, about artists’ studios and workspaces.
www.artscouncil.org.uk

3.7 Rural initiatives

Arts express networking project, Marketing Arts Coventry and Warwickshire, Arts Council England, 2003.
Report detailing an initiative to attract new rural audiences to a range of arts events by providing free transport and using an `animateur’ to carry out outreach work with community groups.
www.takingpartinthearts.com

Country living, Rosemary Shirley, a-n, 2007.
Puts a spotlight on artistic activity in rural locations.
www.a-n.co.uk

Creative industries in the rural East Midlands – Regional study report, Burns Owens Partnership, Culture East Midlands, 2008.
An overview of findings from work on the creative industries in the rural areas of the East Midlands. Draws together the research in the East Midlands – data studies at district level and a series of case studies – together with wider information from other research initiatives to provide an analysis of the key issues for rural policy making.
ruralculture-em.org

A cultural strategy for rural England: Investing in rural community creativity and cultural capital, Dr Ian Hunter, Littoral Arts Trust, 2006.
A discussion paper for Rural Cultural Forum.
www.littoral.org.uk

Investing in rural creativity: New rural arts strategy, Littoral Arts Trust, 2005.
A proposed arts and cultural sector response to the new Rural Strategy.
www.littoral.org.uk

Rural arts: What that means where I live, John Holden, November 2007, commissioned Culture East Midlands and National Rural Touring Forum.
One of a series of commissioned papers reflecting on the arts in rural England.
www.nrtf.org.uk

4. Networks and professional development

4.1 Workforce/skills development studies

Connections and collaborations: developing higher education’s continuing professional development provision for arts and design practitioners, Falmouth College of Arts and Dartington College of Arts, commissioned by a Joint Working Group from HEFCE, Arts Council England and Design Council
Informs HE strategies to improve the match between supply and demand for continuing professional development for arts and design practitioners.
www.hefce.ac.uk

Creative industries skills matrix – Executive summary, Burns Owens Partnerships and Positive Solutions, Living East, 2003
Development of a skills matrix for the creative industries.
www.livingeast.org.uk/publish/documents.shtml

Developing entrepreneurship for the creative industries, DCMS, 2006
Considers how to promote the development of entrepreneurial skills amongst graduates, and how to avoid skills shortages by getting the skills supply to match more closely with the needs of creative businesses.
www.culture.gov.uk

The elephant in the room, Hybrid, Arts Council England, 2008, ISBN 978-0-7287-1377-2
Maps the opportunities and barriers facing the region’s African, Caribbean and Asian visual arts sector.
www.artscouncil.org.uk

Entrepreneurship education for the creative industries, NESTA, 2007
Asserts that current provision entrepreneurship education for creative graduates is not adequately preparing students for growing their own businesses beyond the start-up phase. There is no agreed effective practice and provision varies widely between institutions. Recommends that entrepreneurship education needs to be made explicit, effective and sustainable.
www.nesta.org.uk

Makers in focus, Heather Rigg, Arts Council England, 2006, ISBN 0-7287-1169-9
Reports on the working environment of West Midlands designer makers, craftspeople and applied artists at different stages of their careers, undertaken to explore current activity, identify needs and gaps in the provision of professional development support.
www.artscouncil.org.uk

Reflective practitioner, ArtsMatrix, 2002
Evaluation and impact study of a professional development bursary scheme that supported artists to develop their practice within a structured, reflective environment.
www.artsmatrix.org.uk

Report on support for individual creative practitioners in the South West, ArtsMatrix, 2007
An analysis of the existing support framework for individual artists and creative practitioners working in the South West identifying the strengths and weaknesses within current support, identifying artists’ and creative individuals’ development pathways, and imagining an effective future support framework.
www.artsmatrix.org.uk

Skills for creativity, Strategic plan 2005-10, Creative and Cultural Skills
First Strategic Plan setting out the medium- to long-term strategic aims of Creative & Cultural Skills. The Plan outlines how employers in the creative and cultural industries across the United Kingdom intend to work together.
www.ccskills.org.uk

Skills in the UK: The long term challenge, The Leitch Review, HM Treasury, 2005
Identifies the UK’s optimal skills mix in 2020 to maximise economic growth, productivity and social justice, and considers the policy implications of achieving the level of change required. Interim report Skills in the UK: The long-term challenge published December 2005, conclusions and recommendations to Government in 2006.
www.hm-treasury.gov.uk

4.2 Cultural leadership

Cultural leadership: The Clore cultural leadership programme, Task force final report, December 2002: An investment in the rising generation of cultural leaders is necessary and timely, Robert Hewison and John Holden, Clore Duffield Foundation, December 2002
Final report of a task force established by to consider ways to improve cultural leadership in the UK.
www.cloreleadership.org/full_report.htm

Navigating rough waters: what kind of professional development do we need for managing and leading arts and cultural activity in England? Janet Summerton, Sue Kay and Madeline Hutchins, All Ways Learning, 2006
A discussion paper calling for a more relevant and sophisticated understanding of arts and cultural management and leadership – one which accounts for the breadth of settings, the full range of working practices and organisational configurations and draws on what we know about how we learn as the basis from which to design effective professional development.
www.allwayslearning.org.uk

Not a sideshow: Leadership and cultural value a matrix for change, Robert Hewison, DEMOS, 2006
The paper contributes to the debate about Cultural Value by arguing that there is little point in improving the skills of individual leaders, if the organisations they lead remain unchanged. It focuses on Institutional Value and provides a new evaluative matrix that can be developed as a critical tool to help cultural institutions.
www.demos.co.uk

Rising to the occasion: Cultural leadership in powerful times, Graham Leicester, Mission, Models, Money, 2007
Argues that the competencies needed for growth in the 21st century are latent in the arts and culture sector. The challenge for today’s cultural leaders is to support transformation in a way that looks forward rather than back.
www.missionmodelsmoney.org.uk

Strengthening leadership in the public sector, Performance and innovation unit, March 2001
Examines how to ensure that public sector has effective leaders in health, education and local government needed for the future.
www.cabinetoffice.gov.uk

4.3 Peer networks

Amorphous combustion, a-n The Artists’ Information Company, June 2004
The launch event for NAN (Networking Artists’ Networks), Amorphous Combustion was devised by Jason Bowman and resulted in presentations and responses on the nature and behaviours of networking outside the visual arts.
www.a-n.co.uk

Impact of networking, (Ed) Jane Watt, a-n, 2006
A collection of reflections by the author on artists experiences of Networking Artists’ Networks (NAN) together with other unpublished material such as reports, and event records.
www.a-n.co.uk/an_docs/310948.pdf

Quo vadis, edited Chris Brown, a-n The Artists Information Company, 2005
Explores cross-border networking and peer critique.
www.a-n.co.uk

Reflections on networking and impact of networking, Jane Watt, a-n The Artists Information Company, 2006, ISBN 0 907730 64 7, ISBN 0 907730 68 X
Independent research study examining the scope and impact on artists and cultural policy of the NAN (Networking artists’ networks) initiative. Includes commentary from artists, analysis of participation and benefits and recommendations to funders.
www.a-n.co.uk

Credits

Sheena Etches is a visual arts consultant and researcher. She worked on the development of The artist’s contracts toolkit and was researcher for a-n's Future forecast programme. She was commissioned by London Arts Board to analyse the impact of RALP funding and by Arts Council England to evaluate Q&A – Artquest’s national pilot legal advice service for artists. She has recently been awarded the DCMS Contemporary Visual Arts Clore Leadership Fellowship and continues to programme the Jerwood Artists’ Platform.

Terri Harris is a project manager and researcher. She has worked with organisations including a-n The Artists Information Company, Arts Council England and Sheffield Hallam University.

Sheena Etches

First published: Research papers July 2008