WEARMOUTH - JARROW WORLD CANDIDATE HERITAGE SITE

U N I V E R S A L A - ART IN PUBLIC STRATEGY

1.0 OVERVIEW 1.1 Introduction The Directors of Atoll and ARTS UK undertook the work of preparing a public art strategy as part of the overall project managed by Waring & Netts. Meetings were held with a range of key consultees which identified or confirmed approaches for public art. (Appendix 22.1 Page 29 ). Additional information has been researched and gained by telephone and email enquiries, desk research, site visits. Detailed discussion took place with fellow consultants Light Folio and Continuum, in order to co-ordinate the various areas and to consolidate public art, lighting and interpretation. This work has been placed specifically within the contexts of the World Heritage Site bid and the Landscape Vision which supports the Statement of Universal Value. This is articulated within this report, especially the commissions opportunity section which is the core to the work which will result in a range of work which enhances and articulates the Wearmouth - Jarrow bid. Further to this, and to a degree regardless of the World Heritage Site bid itself, much of what is proposed as part of the public art strategy is also seen as being a high priority for the continued regeneration of Wearmouth and Jarrow anyway. As such, and linking into the currently adopted cultural strategies of South Tyneside and Sunderland, the strategy is seen as potentially helping engage the local communities more within this historic context. This can undoubtedly help engender an enhanced pride and Sense of Place in the potential World Heritage Site, whilst also fitting very well into helping develop wider Quality of Life issues, as a highly valuable part of the overall Sustainable Communities Plan. 1.2 Core Vision It is important that any artistic vision and strategy should rise out of the context of both the site and its ancient and recent history and its anticipated future. A number of key thematic principles have been identified that are seen as likely to be central to the development of a coherent strategy. These will be laid out in more detail further in this report. It is felt that a traditional public art programme (i.e. sculptural works and interpretive panels) is not sufficient for the intended purpose of quality and appropriateness given Wearmouth-Jarrows past as a major centre of European learning and culture in the 7th century. It is proposed that a much more integrated programme be implemented, and that this be seen more as an Art in Public, as opposed to a more traditional public art strategy. There is a strong justification for such an integrated approach to arts and culture in

regeneration, particularly given the high priority placed on similarly innovative cultural programmes within the North East in recent years. 1.3 Historic and Artistic Synthesis The Venerable Bede as the only English person to have been made Doctor of the Universal Church, is seen as one of the most learned men of Europe in his day. The paradox here, is that Bede hardly ever travelled outside of his local area in his lifetime of devotion, whilst the creator of the monastic settlement of Wearmouth-Jarrow, Benedict Biscop, went on many journeys to Rome, whilst gathering ideas, books, treasures, artists, craftspeople and teachers from across Europe along the way. The community of Wearmouth-Jarrow, was originally described by Bede as one monastery in two places, and as such, a recurring sense of an added strength coming through such mutual support seems to resonate here on a number of levels. This historic pairing and unity provides the curatorial starting point for the artistic vision of a universal commissioning programme of essentially collaborative international artist residencies all linked back to the critically needed historic interpretation of WearmouthJarrow, but also contemporaneously to expanding a wider notion of our ever-expanding global culture. This linked pairing or duality is seen as the recurrent theme running through all of the contemporary cultural programme. 1.4 Strategic Components This Art in Public strategy will use as its starting point the national and international contexts and connections to Wearmouth Jarrow which can be traced to the travels of Benedict Biscop, the works of Bede and the known national and international connections of Wearmouth- Jarrow. This are detailed further in this report, but the initial basis for them are set out below: Bishop Boniface, wrote of Bede that he "shone forth as a lantern which is a simple metaphor we have used to suggest the development of a dual or linear arts lighting installation that links both the two sites, and the Biscop-Bede dynamic with it being somehow interconnected and interactive through lighting and new media. That geographically, the dual-aspect of Wearmouth Jarrow also provides certain practical opportunities (2 centres and a tenuous linear connection) that we feel the introduction of creative technologies and new media can help address, alongside a more traditional arts programme. The contemporary precedent of leisure based long distance walking routes, the historic Jarrow March and the ancient religious pilgrimages provides an interesting issue to compare, contrast and play off artistically through the development of proposals for a processional and linear programme of participatory arts events using Bedes Way and the Bedes Cycle Way as the guiding route. In order to create the spread of work, the art in public commissioning programme should use arts practitioners from a range of art-form areas in order to reflect and 2

relate to the sites and opportunities presented in both physical and non physical artworks and projects. The Venerable Bede as the only English person to have been made Doctor of the Universal Church provides a thematic vision for this in suggesting the potential commissioning of a multi-denominational Universal Church of collaborative international artist residencies linked to expanding the wider notion of a new global culture of understanding. On going programmes of academic, historic and archaeological research could also be linked into parallel arts collaboration programmes, and artists specialising in such areas could be targeted and linked to core teams and briefs, that look to expand the boundaries of knowledge for the Universal Value and World Heritage Site.

1.5 Integrated Programme As such, we recommend that the art in public programme be delivered through a series of connected strategies which would comprise: A joint-centred multi-media / lighting commission to act as figurehead Other curated commissions to build on the core identity Open submission commissions to allow wide access to the programme Residencies and placements within the community to involve local people in the creative processes and to develop participatory arts activity. Education and access to involve talks, presentations and other publicly accessible methods of information gathering and exchange Dedicated website to support education and access and make the commissions programme available internationally. An integrated Advocacy, Marketing and Interpretative facilitation programme.

In response to the initial briefs point that a public art strategy should support the overall vision for the c WHS and to assist interpretation and enhance legibility through the study area, it is proposed that culture in its broadest sense can be used innovatively through the vehicle of the public art strategy to mirror the sophistication of Wearmouth-Jarrows past as a major centre of European learning and culture. 2.0 CONTEXTUALISATION 2.1 Bede and Biscop National and International Connections There is an opportunity to use the known history of Bede and Biscop to focus on the geographical connections which could be used within the artist and project selection process. Through his work Bede received information and distributed information from and to many parts of the UK and Europe. His work has been distributed and read widely. Biscop made documented journeys to specific places.

Using these links the UK arts practitioners could be sourced from: Scotland Wales Ireland

Specifically within England they could come from: Tyne and Wear Canterbury Dorchester Hartlepool London Winchester York.

International links could be with: Austria (Vienna) Denmark, France (Paris, Aix-en-Provence, Arles, Vienna, Lerins) Germany (Saxony) Holland (Frisia) Italy (Rome, Milan, Florence, Squillace, Pavia) Spain (Seville, Toledo).

Making these connections could enhance the perception of the programme by re-inforcing the known historical background with contemporary practitioners into a powerful new voice which echos the past without resorting to pastiche or historical re-enactments. Our experience with working with international practitioners is that there can be difficulties with language. We would therefore advise that before appointment this aspect is thoroughly assessed, particularly where a physical/technical commission is proposed which requires clarity. Using international practitioners in other artforms such as music or literature has less problems, and there is scope for larger scale events which support the processional elements. Stockton International Festival has very successfully engaged international companies to present work and this could be a source of advise and contacts. 2.2 Universal Value The core Universal Value of Wearmouth-Jarrow relates to the architecture, sculpture and manuscripts produced collectively from the masterpiece of human creative genius, as a statement of commitment to faith, art and learning and as a statement of cultural imagination and transformation. Beyond this, a number of other influences have a major bearing, namely:

The international interchange of human values (Biscop and Wilfrid, Rome, Lrins, Lyon, Italy, Gaul, Ireland) The cultural transition from Antiquity to medieval Europe, and the emergence of coordinated monastic planning. The retention of ancient architecture that illustrates a significant stage in human history and reflects its wider cultural characteristics. Maintained evidence of traditional human settlement or land-use that represents of a culture which has become vulnerable under the impact of post industrial development. Associations with areas of outstanding universal significance and the Idea of Englishness, including Bede, his writings, and the Codex Amiatinus Bible.

2.3 South Tyneside Cultural Strategy - Catch the Spirit Hundreds of people throughout South Tyneside have already been involved in developing a plan for culture in the wider Borough. As a result, a Cultural Strategy called Catch the Spirit was produced. The overall objective of this strategy is to develop a framework, which will promote and support the cultural well being of the Borough. This strategy aims to: Illustrate how culture in South Tyneside links and contributes to a wide range of national, regional and local priorities Build on a commitment to culture and identify and agree priorities for action and investment through partnership working. Recognise that the borough faces many difficult social and economic issues. Culture can play its part in using our strengths to turn threats gaps into provision opportunities for development. Celebrate South Tyneside assets and add value to the good work that takes place within the borough. Develop a clear and structured approach to the development of cultural services, initiatives and projects in the future. Tackle inequality ensure that everyone in every community throughout South Tyneside has the opportunity to engage with cultural activity. South Tynesides strategy is seen as the beginning of a journey where networks will be build upon and strong partnerships forged. As such a key feature of the strategy is open community consultation which will constantly feed and shape the cultural strategy. 2.4 Sunderland Cultural Strategy - Culture Whats Yours? The parallel vision for the City of Sunderland, is to create a culture that is available to and enjoyed by all its residents. It believes that culture can contribute to the communities individual quality of life, and has two main governing principles which are:

Identity, pride and positioning including: Who we are, what we are proud of, and what we want to be known for. Access, aspiration and equality including: How we ensure an equality of access to cultural activities in a Sunderland where currently there are inequalities and exclusion. In order to maximise our cultural potential, Sunderland has drawn up eight main strategic aims, and these include: Ensure that the City of Sunderland is well known as a distinct City in the North East Celebrate the City of Sunderland, its traditions, its people and its places Ensure that the City of Sunderland has a good range of quality cultural facilities Establish and sustain a healthy and balanced cultural economy Create an equality of access to culture throughout the City of Sunderland Increase levels of participation in cultural activities Ensure that culture plays its full part in improving life for people in the City of Sunderland Ensure that Sunderland, as a cultural resource, makes its full contribution to the region 2.5 Joint Framework A number of creative approaches are suggested to both help enhance the joint potential of the historic Wearmouth-Jarrow one monastery in two places, and also reinforce the geographical weakness of this through the post-industrial polarisation of the two sites of St Peter and St. Pauls. Ironically, the old Anglo Saxon name for Sundered-Land refers to the area separated by the River Wear from the monastic estates at Monkwearmouth whilst the verb to sunder actually means to wrench apart or sever. In direct contrast, King Ecgfrid of Northumbria, who had given the lands on which both the sister foundations of the Donmouth / St. Pauls and Monkwearmouth / St. Peters monasteries were originally built, laid down the condition "that no man should ever try to divide these two monasteries which had been united under the names of the first of the Apostles." The proposed Art in Public programme therefore looks to help reinforce artistically the historic and cultural connections between the two historic settlements, through the contemporary means of a multi-layered artistic twinning programme. It does this through the proposal of a variety of synthesised cultural initiatives, that continually looks to link the two sites to one another, to their immediate neighbouring communities, and also beyond that - both nationally and internationally. It also looks to help explore and broker a genuine symbiotic sense of partnership between the relative cultural aspirations of the cultural strategies of South Tyneside and Sunderland. The historic pilgrimage route, with its modern equivalent of Bedes way and the Bedes Cycleway, can help to provide a skeletal framework to locate a number of localised clusters of focus and help bridge a South Tyneside Sunderland joint programme. However, whilst much of the proposed artistic attention will look to the local communities for engagement, the majority of produced commissions and events will focus back, initially at least in initial 6

phases, towards the two poles at St. Peters and St. Pauls. However, the creative ambition from the outset is to help re-align both local and wider perception onto the two sites, and also to help create a new localised Sense of Place and engaged allegiance to the unique world heritage of Wearmouth-Jarrow. 3.0 ARTISTIC VISION 3.1 Universala Art in Public Our draft working title for this proposed integrated cultural framework is Universala. The word is taken from Latin, meaning universal (or having general application; of/belonging to all/the whole, entire). Universala is also the Esperanto word for universal, which seems fitting as Esperanto was conceived a universal language, amongst other things, to help resolve the global problems that lead to conflict. Whilst still a minority language over 120 years after its creation, Esperanto still champions the causes of international communication without discrimination, and of respect for all cultures. As such, its translation and secular sentiments were felt fitting as were the indirect references made to the original Universal Church of St. Bede, the Universal Value of the World Heritage Committee criteria, the proposed enhanced links to Sunderland University, and the programmes global ambition. It is suggested that the prime cultural direction of Universala is driven by a composite of influences, but most significantly takes as its key directive, issues arising out of the Universal Value already identified from the World Heritage Committees criteria; as well as the aforementioned cultural strategies adopted by both South Tyneside and Sunderland. The intention would be through the launch of an overall cultural programme for Wearmouth Jarrow, to set up some form of online capacity to focus this new programme, whilst simultaneously also linking it to both local and international communities. With this in mind, a suggested web domain of www.universala.net was noted as being currently available. 3.2 Integrated Thematic Strands It is suggested that the core elements of the Universala Art in Public strategy should rise out of the context of both the site and its history (both ancient, recent and future-projected), whilst looking to engage its local communities and other visitors through a contemporary and highly unique artistic programme. The proposal here would be to cast a wide net for potential artists, creatives and artisans, and echoing both the historic linkages with Wearmouth-Jarrow as well as new contemporary associations. As such, a number of principle thematic principles have been identified that are seen as key these are: Light of Life An essential lead artist commission is proposed to act as the overarching figurehead to the integrated artistic programme. As such, a main commission is suggested around a dual interactive lighting and multi-media installation interpreting and unifying St. Peters and St. Pauls.

Artisan - The contemporary commissioning of stone, glass and other elemental materials through artisans and designer-makers is proposed to link into the strong artisan heritage of Wearmouth-Jarrow. Bioscope - A vision for the commissioning of collaborative international artist residencies linked to local communities and organisations to observe, expand and exhibit the wider notion of both the ancient and new global culture of WearmouthJarrow. Peter and Paul The linear model of a processional programme of participatory arts to link the two sites symbolically, with the pilot for two new annual community Festivals of St Peter and St Paul or of Biscop and Bede. It is suggested this could be based potentially on historic feast days one winter-based and one summerbased. Education Programme - Educational engagement programmes linking to the existing educational outreach but placing much more cultural emphasis is proposed as an important dimension of all of the artistic themes of Universala.

3.3 Twinning Programme A number of national and international cultural associations are proposed on the back of the Universala programme, with the locations of these being informed by some of the historic links already existing with the travels of Benedict Biscop. The intention would be to put out a general call for interest and collaboration once the programme starts in earnest, but as a typical indication, these international links might be as follows: Denmark - Reciprocal parallels could be established to the Danish Arts Councils established DIVA programme - the Danish International Visual Art Exchange Programme. DIVA gives the opportunity to invite international artists who meet a high professional standard to work and live in Denmark. In that way DIVA contributes to strengthen international exchange and network between the Danish and International contemporary art scenes. In similar fashion, using the Bioscope or Artisan programmes, Danish international artists could be offered residencies or commissions. France - Stained glass windows to historic buildings have been designed in the past by outstanding international artists such as Jean-Pierre Raynaud, Jan Dibbets and Robert Morris. This has been made possible through collaboration between two separate governmental bodies: the Direction du Patrimoine, in charge of national heritage buildings and the Dlgation aux Arts Plastiques, which promotes contemporary art. The opinion of the direction du Patrimoine, is that the choice between heritage on one hand and creation on the other needs to be overcome, and it wishes to reconcile contemporary creation with historic monuments through the commissioning of contemporary works of art.

4.0 DETAILED COMMISSIONING STRANDS 4.1 Light of Life Christ is the morning star, who when the night Of this world is past brings to his saints The promise of the light of life & opens everlasting day Inscription quotation from St. Bede on his tomb in Durham Cathedral Bishop Boniface, wrote of Bede that he "shone forth as a lantern in the church by his scriptural commentary". His works also influenced a ninth century Swiss monk, wonderfully called Notker the Stammerer, who wrote that "God, the orderer of natures, who raised the Sun from the East on the fourth day of Creation, in the sixth day of the world has made Bede rise from the West as a new Sun to illuminate the whole Earth". These recurring metaphors of Bede and Wearmouth-Jarrow as a beacon allude to an artistic opportunity to explore the potential of a major signature lighting and/or multi-media arts commission. It is suggested that this could be a dual installation located in some way on or adjacent to both St. Peter and St. Paul churches, that would aspire to signify both a historic and aspirational unity between Biscop and Bede and the two monastery sites. Bedes book The Reckoning of Time explored the Julian solar calendar and other formulae for calculating dates. Bede set such calendar lore within a broad scientific framework and a coherent Christian concept of time, including the theory of tides. Because of that, and depending on the artist and artform selected, this could potentially also incorporate some form of clustered or linear capability, with elements potentially interconnected and interactive in some way responding through sensors to such things as the changing calendar, moon and tide phases as well as perhaps weather and wind, visitor numbers and even world events etc. 4.2 Artisan and designer-maker This is a supporting and more traditional public art programme of permanent integrated design, sculptural and interpretive works carried out in collaboration with appointed design teams and project partners and linking to both local, national and international artists. Artisans and designer-makers have an important role within the public art strategy as their work can link most directly to the skills and craft areas which reflect and echo the historic elements of the materials and texts of Bede and Biscop . The windows in both churches are a prime commission opportunity, where traditional glass technology can be combined with the contemporary examination and presentation of the subject and hence made into new coloured glass additions to both churches. The work can be continued into the connecting routes (St Peters to National Glass Centre and St Pauls to Bedes World), in both floor based and elevated glass elements which create sight lines 9

for the routes. There is an opportunity for collaboration with an artist blacksmith to have the elevations created from hand wrought and forged iron, with glass incorporated into the structures. The routes can also utilise lighting and this is an opportunity for programme collaboration between Light Folio and the designer-makers. Letter-cutters create their own alphabets for texts commissions and by so doing their work reflects and echos that of the calligraphers of Bede and Biscops days. There are connections into the ancient and modern Scriptorium where direct cutting can be placed into the public realm in commissions which locate texts in horizontal or vertical surfaces in exterior locations but where digital scripts can also be developed within the Scriptorium itself and transmitted internationally via the internet. A letter-cutter/calligrapher could be commissioned to create a unique alphabet for use in any lettering requirements such as signage. There are traffic/pedestrian points on both sites and routes which can have special treatment from artist blacksmiths, where the functional elements and specification is retained but enhanced through individual design solutions which relate to specific locations and contexts. Furniture makers can utilise their design skills for seating which moves this functional element far above the standard catalogue item, and results in objects which, being of a high aesthetic and design value, provides additional quality to the environment in which they are placed, whether the church grounds or the urban routes. The work of the artisan craftsperson can add design and function qualities into the built environment which complements the more experimental parts of the commission programme, and forms a balance with the artist led commissions as well as underpinning the qualities of designing and making which the various crafts areas have to offer. 4.3 Bioscope A Bioscope was an early form of motion-picture projector, used from 1900. The grandly titled Jarrow Bioscope Theatre opened in 1907 in the former Salvation Army Hall in Grange Road and was followed in 1908 with the Jarrow Kino. This catered not only for showing films, but also for lectures, various live performances. The word 'bioscope' is borrowed for this part of the programme as it is constructed from the Greek (bios - meaning life; and skopeein - meaning to look at). The Oxford English Dictionary gives its traditional definition as "a view or survey of life", and this was felt to be particularly apt. Taking a loose and contemporary twist on this survey of life, it is proposed that a number of artist research residencies be developed with the aim of finding new ways of investigating, interpreting and communicating the myriad of archaeological, historical, cultural, anthropological, geological, sociological, industrial and environmental aspects of Wearmouth-Jarrow, and in particular engaging and pairing-with the various settlements and community groups that are encountered along the meandering route of Bedes Way and Cycleway, running between the two monastery sites.

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It is proposed that in a rolling programme, each artist or group will be allocated key sites under investigation by other research teams, or otherwise a section of the connective historic route between the two sites. Artists would then look to engage with both the sites and their adjacent communities (residential or otherwise) and they would then be invited to interpret and realise new work to expand both the historical and contemporary context of Wearmouth Jarrows world heritage and culture. A number of outputs would come out of this, and these could include visual arts, creative writing, photography, films, installations and events. It is envisaged that these works will conclude with final installations, exhibitions and /or presentations centred at either St Peters or St. Pauls and in some cases even simultaneously at both. It is envisaged that the works would also be represented at the various sites generating the residency if practical. A capital budget has been proposed to allow some of the residencies to generate physical works which would be placed along Bedes Way to re-inforce the connection between the two churches. 4.4 Peter and Paul The suggested focus of this contemporary festival are a pair of processional events that looks to embrace the communities within the hinterlands of St Peters in Wearmouth and St Pauls in Jarrow. This pilot for the pairing of two linked festivals would look to celebrate both the joint monasteries of Wearmouth Jarrow, and also the unique Bede-Biscop dynamic. It is suggested that the proposed events would be linked to the two separate Celebration of Feast Days for St Bede and St Biscop occurring on the 27th May and 12th January respectively. However, because of potential programming or resource reasons, it is possible that only one processional event might be ultimately practical. In this case, the suggested date would be that of the historic Feast of St Peter and St Paul on the 28th and 29th June. It is noted that St Peter is also historically celebrated by the Universal Church on 29 June. It is noted that over 1000 churches were dedicated to St Peter in pre-Reformation England and another 280 were dedicated to Peter and Paul jointly. The historic Maltese Feast of Saint Peter and Saint Paul called Mnarja, began in the days of the Knights of Malta and was marked by country fairs, music, song and outdoor feasting. The word Mnarja is derived from "Luminarja" meaning lights, and refers to the lighting of bonfires. The thinking behind the two processional events would be the celebration through both a summer and winter festival. The summer festival would attempt to explore the fuller length of the Bedes way linkage between the sites; whilst the shorter days of winter would give opportunity for more localised clusters of lantern parades and lighting-based beacon installations. As well as clearly linking to the religious pilgrimages, both festivals could also be evocative of the historic Friggers marches where Sunderland glass-workers would ceremonially parade glass decorative pieces on poles with designs made from wastage taken off the end of the glass-blowers pipes.

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4.5 Educational Programme Bede himself tells us that he always took delight in learning and teaching, and so the parallel alignment and enhancement to existing educational strands is seen as being very important. We believe that peoples lives are enriched by involvement in high quality educational activities which are connected directly with high quality arts programmes. We see the following as forming part of an education programme: Workshops Talks Exhibitions Seminars and conferences Publications and Papers (Physical and electronic)

These would take place in a variety of locations and with a variety of groups. For instance workshops could be held in schools, community centres or other local facilities. The Education Programme should be placed within local communities and its activities embedded with local people of all ages and abilities. Through this mechanism the public art programme can be a real project in peoples lives and as such it should gain support locally, and encourage local engagement and ownership. As well as being educational and didactic some of the workshops may generate ideas and artworks for, for instance, the participatory strand of the programme. Other activities such as the talks, seminars and conferences can be pitched at different and appropriate levels depending on the nature of the audience. The artists and designer-makers who are engaged in the commissions programme can explain directly about their work and by so doing generate a dialogue which supports a two way exchange of ideas or responses. Other arts programme activity could be generated through artist educators whose role is to stimulate involvement and engagement with the programme through a parallel education programme which is aimed to complement the physical works and commissions programme. Where possible and relevant, the educational programme should be co-ordinated with and link to the established work of both Bedes World in Jarrow and Sunderland Museum and Winter Garden in Sunderland are seen as key. Other agencies which could be involved are Creative Partnerships and other arts organisations such as Infinite Arts, both of which offer specialist arts and education experience and projects.

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5.0 COMMISSIONING OPPORTUNITIES 5.1 Potential Themes and Context By connecting to the work of Bede, there are numerous different themes and contexts which can be used within commissions. These include: Theology Astronomy History Natural Sciences Poetry Grammar Mathematics The calendar Tides Reckoning of time Counting The atlas

The following more general areas can also be considered: Church architecture Music Liturgy Books and literature Reliquaries Vessels Vestments

Biscop also brought the Archcantor (choirmaster) from Rome. There could be an opportunity for a musician /composer residency and a link with the present choir/s. 5.2 Landscape Vision To support the Long Term Landscape Vision, the suggested commissions programme has been developed by assessing the Long Term Landscape Vision criteria, the context of WearmouthJarrow, Biscop & Bede and the contemporary/historical mix which we feel should be supported. The landscape vision has 6 criteria to meet: 1. 2. 3. 4. 5. Create a world class setting Connect churches to their surrounding areas Connect churches to each other Connect churches to the sea Connect churches to the rest of the world

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6. Create cultural connections 7. Sustainable development In the Commissions List we have identified opportunities which connect both churches as well as others which are more specific to either St Peters or St Pauls. We have also noted which Long Term Landscape Vision criteria each commission meets.

5.3 Commission List

No Commission

Programme Strand and artform area Light of Life Light Multi-Media Sound Music

Landscape vision criteria met

St Peters/St Pauls connecting the sites Light of Life A major Lead-Artist commission potentially using lighting and/or projection and multi media arts which calls on interactive connections to the sea, tides, moon cycles. There is also clearly the possibility of artists exploring wider associations through internet technology or other virtual means with, for instance, sensors, monitors and Wi-Fi or Bluetooth web-access provided adjacent to both churches, National Glass Centre and Bedes World. Such technology might also explore links with other international locations through live web-cams, such as with the Laurentian Library in Florence, where the only original copy of the three 8th century Codex Amiatinus bibles produced in Wearmouth-Jarrow resides. By using Gaming Technology compatible hardware it is also possible to have high powered digital imaging and downloads of artistically interpretative material sent to mobile phones, Palm-Pilots, MP3s and I.Pods. There is also a clear potential overlap here to the mainstream interpretative programme. Interactive sensors around both churches could be used to trigger digital sound and music and provide access for arts and interpretation programmes. This commission could be extended to include Bedes Way as an additional physical method of connecting both churches.

2,3,4,5,6,7.

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This is the programme.

key

flagship

commission

of

the

Glass/light based commissions which replace some Artisan or all of the plain glass windows in both churches. (The small window in the west tower of St Peters Glass might be treated as a separate commission.) Light Metal The materials of light and glass can also be used in the pathway/routes between St Peters and the National Glass Centre and St Pauls and Bedes world. There is also a strong case that the connection is continued into the main glass entrance doors of NGC as well as investigating other entrances/exits on the lower level which connect to the riverfront and hence from the church to the sea. The routes to work visually day and night by use of light capturing tiles and light/glass relationship. There is potential for using an artist/blacksmith to create unique metal poles which hold glass elements to make an aerial glass/light visual reference between both churches and their respective associated buildings.

1,2,3,5,6,7.

Liner routes of both to floorscape based texts.

metro stations using Artisan

1,2,3,6,7.

LetterSt Peters to St Peters metro use texts which relate cutting to Benedict Biscop and his national/international connections. Typography St Pauls to Jarrow and Bede Metros use texts which call on either(or both) existing historical texts of Bede and contemporary new writing as commissioned work by a writer or writers. The context for texts can also be applied to the other text based commission opportunities in 6,11 and 12.

Lighting from metros to churches which calls on artist Light of Life input. Also sound and projections devices can be incorporated into the lighting columns so that sound Lighting

1,2,3,6,7.

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works can be used as well as projected text/images

Sound Projections

A specially designed suite of seats/benches from Artisan churches to the metro stations, each churchyard and along Bedes Way, which use highest quality design Furniture by product designer or furniture designer-maker in conjunction with commercial furniture manufacturer. The use of sonic benches would also give rise to points on the routes where sound could be heard by use of headphones plugged into the benches. This would support the use of peoples voices reading specially commissioned new writing.

1,2,3,6,7.

Texts in the exterior floorscape of both churches.

Artisan Lettercutting

1,2,3,4,5,6,7 .

Lighting and projections to the exterior of churches. A Light of Life series of temporary light projects which commission new works by artists which are projected on to the Light church exteriors either on a short or long term basis. Projections The works could also be considered for projection from the lamp-post based projection devices.

2,3,4,5,6,7.

A residency programme for Bedes Way and the church/river connections. Working with local communities to connect them both churches and the public art programme. There are opportunities for artists working in schools, community centres, allotments, pigeon lofts, elderly day-care centres in both social and arts contexts and to bring forth local peoples contributions to the programme. Part of this work may also develop the processional approach for a community based event or events. Residencies can also be programmed in to link to core work such as the redevelopment of Drewett Park, where an artist could work with the archaeological team. Another opportunity lies with the Scriptorium which

Bioscope Peter and Paul Educational Multidisciplinary

2,3,4,5,6,7.

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will utilise IT and therefore lends itself to a digitally based residency, possibly around text or communications. This work could include the creation of a unique alphabet for use in any lettering requirements such as signage along Bedes Way. Provision has been made for some of the residencies to result in physical works which will be placed along Bedes way to further connect St Peters and St Pauls

Railings and metalwork when required on route and Artisan at pedestrian/traffic confluences could be designed and made by specialist artist/blacksmiths. Metalwork

1,2,3,6,7.

St Peters

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Lighting along the riverfront with connection up to St Light of Life Peters with same potential for sound and projections. Lighting Projections

1,2,4,6,7.

11

Lettercut standing stones at the 4 entrances to the Artisan church grounds. Lettercutting

1,2,3,5,6,7.

12

Letter-cutting on the horizontal surfaces of the Artisan retaining walls. Lettercutting

1,2,3,5,6,7.

13

Landforming a performance area on the south side of Artisan the church to connect to the University to use for sacred and secular ceremonies and events. Landforming

1,2,6,7.

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Commission within the University Square which is Artisan connected by a path from St Peters through to the river and has a low plinth installed. Sculptural

2,4,5,6,7.

17

St Pauls

15

Use the trees in the grounds which are being felled or Artisan cut back for a sculpture commission. Sculptural

1,2,6,7.

16

Planting scheme with designs/image/text.

bulbs/flowers

to

create Artisan Sculptural

1,6,7.

17

Landforming in Drewett Park to make points of Artisan interest. Landforming

2,6,7.

18

Landforming ground between St Pauls and the river Artisan and enhance the connection of the church with the River Don. Landforming

1,2,4,6,7.

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Temporary project at the vista at end of footbridge.

Light of Life Lighting Sound Projections

2,4,5,6,7.

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Artist designed play equipment at Drewett Park where Artisan the artist/designer works with a play equipment manufacturer to enhance designs, create new Sculptural structures or make additional panels which can be connected to existing play structures

2,6,7.

Each commission includes an education element through the Education Programme 5.4 Priority order of commissions In considering the order which commissions could be developed we have been mindful of the need to support a world class programme, and to prioritize on that basis, as well as further supporting the Long term Landscape Plan and the need to address the Statement of Universal Value.

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Priority Number reference Order to commissions list 1 1 2 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 7 3 4 10 6 11 8 5 12 13 14 16 17 9 18 19 20 15

Commissions

New media commission to link St Peters and St Pauls Glass and light to connect St Peters with National Glass Centre and St Pauls with Bedes World Temporary projections to each church Floorscape texts for linear routes from St Peters and St Pauls to the 3 metro stations Sound and projections from light columns from churches to 3 metro stations Riverside sound/projections at Sunderland Floorscape texts in exterior floorscape of both churches 4 standing stones letter-cutting texts at St Peters Residency programme Seats/benches for churches to metros stations, in each churchyard and along Bedes way Retaining walls letter-cutting texts at St Peters Performing/live event and infrastructure University Square/Path connection Planting commission at St Pauls Landforming in Drewett Park Railings at pedestrian/traffic points Landforming between church and river at St Pauls Footbridge temporary project at St Pauls Play equipment in Drewett Park Felled trees sculpture at St Pauls

Numbers in bold indicate our recommended key commissions. 6.0 Groups and communities connected to the churches and Bedes Way The churches and the connecting route of Bedes Way are within or in proximity to a number of community areas. It is from these communities that local people will be drawn and involved in the public arts programme, and possibly especially for any processional projects which will call on communities to become active within their own area and join others to make a complete project which spans the church sites and Bedes Way. These communities are: Jarrow, Hill Park Estate, Primrose, Hedworth, Brockley Whins, Boldon Colliery, Newtown Boldon, Biddick Hall, Whiteleas, Cleadon, Marsden, Whitburn Colliery, Whitburn, South Bents, Seaburn, Fulwell, Roker, Monkwearmouth, Sunderland.

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There are a considerable number of organisations and groups to link with. Some of these, such as Monkton Infants, Hebburn Comprehensive, St Mary's Tyne Dock and Boldon schools have already engaged in arts activity through Bedes World. There will be groups which can be identified through St Peters and St Pauls, the arts officers and personnel of both local authorities, Bedes World and National Glass Centre that can be involved in arts projects and the commissions programme, The importance of community involvement is well established, especially as enhancing existing community links or creating new ones will further support the connection between the churches and their surrounding area. An initial but not exhaustive list includes: Buildings St Peters, National Glass Centre, Whitburn Hall, St Andrews Church, Souter Point Lighthouse, St Pauls Community Centres Roker Community Centre Health and Care Sector Monkwearmouth Hospital, Cleadon Park Elderly Persons Centre, South Tyneside District Hospital, Primrose Hill Hospital, Primrose Hill Hospice, St Bedes Old Peoples Hostel, Monkton Hall Aged Persons Hostel Leisure Centres Temple Park Leisure Centre Metro and Bus Stations St Peters Metro , Jarrow Metro and Bus Station, Bede Metro, Brockley Whins Metro Schools and Training Centres Redby R C Primary School, St Bennets R C Primary School, Fulwell Junior School, Fulwell Infant School, Church Street Primary, Monkwearmouth School, Seaburn Dene Primary, Whitburn Comprehensive School, Whitburn Infants, Whitburn Junior, Marsden Primary, Harton Junior, Harton Infants, Harton Comprehensive, Ridgeway Mixed Juniors & Infants,, Ashley Primary, St Wilfrids R C Comprehensive, Margaret Suttn School, Brinkburn School, King George Comprehensive, St Oswalds R C Primary, St Oswalds R C Infants, Cleadon Village Junior, Boldon School, Boldon Comprehensive, West Boldon Primary, Hedworth Lane Primary, Chutter Ede Educational Centre, Brockley Whins Infants, Monkton Junior , Simonside School, St Marys Primary, Valley View Juniors & Infants, Springfield Comprehensive, Ellison C of E Primary, Bede Burn Junior Mixed & Infants, Lord Blyton 20

Primary, Greenfields School, Bedewell Junior Mixed & Infants, Hebburn Adult Training Centre, St James R C Junior , St Matthews Primary, Hedworthfield Primary, Hedworthfield Comprehensive, St Josephs R C Primary, Fellgate Junior Mixed & Infants. There are also public open spaces and parks which might be utilised in celebratory events: Roker Park, Roker Cliff Park, Seaburn Park, South Bents Playing Fields & Sports Ground Cornthwaite Park, Harton & Westoe Collieries Welfare Ground, Oakleigh Gardens , Newtown Playground, Newtown Playing Field, Drewett Playing Fields, Monkton Dene Park, Jarrow Riverside Park, Jarrow Park. 7.0 Existing or planned public art commissions in Sunderland and South Tyneside There are a number of public art commissions or programmes which should be borne in mind when placing the proposed Wearmouth-Jarrow Public Art Programme into the public domain. Some of these are more historical and do not fall within the World Heritage Site Candidate Bid, but others have or will have placed work in the area defined for the bid. The projects are: Sculptor Andrew Small is creating a trail of works from Wearmouth Bridge to the pier at the mouth of the River Wear as part of Sustrans C2C public art programme. The works will comprise pieces which relate to planetary and astrological phenomena. There is a lenticular animation of the sun, a series of planetary Way Markers and a star map grit blasted into black granite with a hole to view the light house on the promenade at Roker beach. These pieces align generally to Bede and his work with heavenly bodies. ARC is active on both sides of the river with % for art and projects involving the areas of Sheepfolds, Sunniside, Stadium of Light, Farringdon Row and the Port. A possible William Pym work for the roundabout outside Bedes World has flagged up. The status of this is unclear but would require some further investigation. Our understanding is that William Pym has changes his artistic practise and that may have a bearing on whether this commission proceeds. The project was stimulated by the local authority Highways section. If money still exists and a work is required , and William Pym is not to carry out the work we recommend that the commission becomes part of a more closely directed Bedes World public art project, with appropriate professional public art input and management. The existing major programme of public art in Sunderland is unlikely to impact directly on the Wearmouth Jarrow public art programme but there could b positive impact in terms of joint marketing, connecting to a wider world and focusing attention on the area through its commissions. Christian Moeller has been commissioned as part of the Art on the Riverside programme. His proposal is currently at Planning Application stage. If approved its location will be opposite the Stadium of Light. Potential to use Alison Wildings Ambit which is currently in storage in the harbour. A lighting commission by Charles Quick at Hebburn as part of the Art on the Riverside programme.

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A programme of commissions within the redevelopment of a South Tyneside Housing estate which is being led by landscape architects Southern Green. Potential with the new Tyne Tunnel development with a Tyne Gateway Strategy commissioned by North and South Tyneside Councils but with nothing developed from it to date. The Helix Arts St Peters Riverside Project with works by Colin Wilbourne, Karl Fisher Craig Knowles and Chaz Brenchley. These are located on the waterfront between Wearmouth Bridge and the National Glass Centre, with Shadows and Light, continue on Bedes Cycleway past the marina area and end at Roker beach with High Tide. They are well liked locally but some of the pieces would benefit from maintenance and repair. A floor-based mosaic on Bedes Way, 400m from St Pauls. In need of repair or removal.

8.0 BUDGET St Peters/St Pauls New Media Glass and light to connect St Peters with National Glass Centre and St Pauls with Bedes World Floorscape texts for linear routes from St Peters and St Pauls to the 3 metro stations Sound and projections from light columns from churches to 3 metro stations Seats/benches for churches to metro stations, in each churchyard and along Bedes Way Floorscape texts in exterior floorscape of both churches Temporary projections to each church Residency programme Railings at pedestrian/traffic points on routes Total St Peters and St Pauls St Peters Riverside sound/projections at Sunderland 4 standing stones letter-cutting texts Retaining walls letter-cutting texts Performing / live arts event and infrastructure University Square/Path connection Total St Peters St Pauls Felled trees sculpture Planting Landforming in park Landforming between church and river

1 2

Provisional sum 300k incl. fees minimum Provisional sum 100k x 2

3 4 5 6 7 8 9

Provisional sum 25k x 3 Provisional sum 50k x 3 Provisional sum 225k Provisional sum 25k x 2 Provisional sum 20k x 5 Provisional sum 15k x 10 Provisional sum 200k Provisional sum 50k 1,500,000 Provisional sum 20k Provisional sum 15k x 4 Provisional sum 20k Provisional sum 50k Provisional sum 100k 250,000 Provisional sum 25k x 2 Provisional sum 10k Provisional sum 50k Provisional sum 200k 22

10 11 12 13 14

15 16 17 18

19 20

Footbridge temporary project Play equipment Total St Pauls Contingency @ 10% approx TOTAL ESTIMATED COSTS

Provisional sum 20k Provisional sum 25K 355,000 200,000 1,500,000 250,000 355,000 200,000 2,305,000

9.0 Sources of funds These are identified in the Appendix 22.3 page 60. 10.0 COMMISSIONING PROCUREMENT 10.1 Public Art Facilitation & Steering Group The key to realising the Universala Commissioning Code will be the ongoing facilitation of a Wearmouth-Jarrow Public Art Steering Group facilitated by a public art specialist with the specialist being either externally consulted or internally appointed through an internal public art post. This facilitation will need to be budgeted for on an ongoing basis, and can either be tendered externally through a Service Level Agreement, or can be created internally through the creation of a new post through revenue funding for the life time of the programme. 10.2 Project Management It is assumed that projects can normally be monitored through the various area-based Regeneration and Landscape Services or the Arts Development Teams (subject to resources and priority). They can also be managed via the employment of a consultant Project Manager or Lead Artist. 10.3 Selection of Projects Such an enhanced Steering Group should be established to ensure that all projects, which are considered and recommended for approval, take account of the following: Meet the criteria of the Universala programme and enhance the World Heritage Universal Value Meet the aims and objectives of the Cultural Strategy of South Tyneside and Sunderland as appropriate Illustrate huge quality and innovation in the arts and value for money Have realistic targets and timescales and are reasonably budgeted

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Can demonstrate support for the project, including through community support and consultation if required Have taken account of any relevant planning regulations, bye-laws, World Heritage, listed building or Site of Special Scientific Interest status Have taken account of physical ownership, copyright, health & safety CDM and maintenance issues Incorporate evaluation which will be publicly accessible for research purposes 10.4 Artist Short-listing Methods The Steering Group could help the Wearmouth Jarrow Partnership select artists from both direct appointments and through open and closed competition. A number of alternative mechanisms can be used to achieve this: Limited Design Competitions - An invitation to a limited number of artists to respond to the brief in the form of a proposal. Open Competitions An open Call for Artists advertised in the art press. Solicited Appointment - An approach is made directly to an artist, usually preceded by research and studio visits. Competitive Interviews - Artists invited to attend interview and make presentations of past work to the Steering Group. 10.5 Artist Briefs The Public Art Steering Group can help agree on Artist Briefs. However, it is suggested that the Artist's brief should normally consider: Who the commissioner is, their mission and normal areas of work. Background to the project including principles established by the feasibility Vision for the project Site details - factors to be considered Technical brief Timescale Selection criteria and panel Selection procedure Outline of contract stages and sample contracts Budget - is this global, does it include VAT Ownership and copyright - including designs, models etc. Requirements of artists in responding to the brief Indemnity and Public Liability insurance requirements - during development and post completion The artist's role in consultation Life cycle and Decommissioning factors

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10.6 Artist Agreements and Contracts Artist's contracts can be issued having regard to standard guidelines adopted by the Public Art Steering Group, which could be based on any standard Local Authority artist contracts as well as recommendations of Arts Council England and The Artists Information Company. In certain cases where standard contracts are required for minor scale built environment works, it is suggested that a standard JCT Minor Works Contract, with Contractors design (MWD) be the favoured standard. 11.0 Training and mentoring The workshop programme can add an element to this area, through informal education and training opportunities offered to local people of all ages and abilities. Another of the elements could be mentoring opportunities for artists who are at an early stage of their career development. They would benefit from a closer association with more experienced artists within a live commissioning programme. Other training could involve workshop sessions on Professional Practice. This could involve a range of arts professionals giving more formal sessions on different elements of arts practice such as promotion and development, understanding briefs and client requirements, budgets and project planning. Some of this work could be co-ordinated with Sunderland University Departments of Glass and Ceramics and Design. Other strands might be developed with assistance from creative industry agencies and organisation which offer training and mentoring services. 12.0 Evaluation & Monitoring Linked to models of good sustainable practice as well as the developing brief from DCMS to integrate higher levels of evaluation into all Culture-in-Regeneration initiatives, it is suggested that all public art programmes set up ought to aim at eventually becoming selfsufficient. In order for this to happen, methods to highlight and evaluate good practice must be developed in parallel to the on-going programme. The current exemplar of IXIAs Open Space Evaluation Model is the suggested model for adoption. 13.0 Maintenance & Decommissioning Often forgotten about, the important issues of maintenance and decommissioning need to be considered at the outset, with a contingency created to deal with the hypothetical typical life of a commission be it a 1-week temporary installation project or a 30-year permanent sculpture. It is suggested that based on experience a figure or percentage be agreed at the outset of all projects and an endowment levied and kept in trust to deal with maintenance and decommissioning issues that are deemed over and above the normal everyday duties.

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14.0 Marketing & Advocacy The practice of justifying the benefit of art and culture in regeneration is notoriously difficult to prove factually particularly where parties are ill informed or (worse) lacking in interest. In addition to this, public art often generates extremes of public reaction, rather than a comfortable middle ground of consensus. Because of this, the local media outlets of local papers and television often showcase public art in a trivial manner to debate the worth of local tax payers funding fine art often with highly destructive results. Because of this, it is important that stitched-on to the Universala programme, sophisticated and regular advocacy and marketing systems to pre-empt such bad press. 15.0 Project Funding As well as any core project funding negotiated through regeneration budgets, there is the possibility of additional stakeholder project funding being brokered-in from a number of sources. These can include Section 106 negotiation through Local Authority Planning Policy or can involve a range of other funding applications made to a range of international, national and regional parties. See also Appendix 22.3 Page 60. 16.0 Revenue Funding Revenue funding is often more problematical to achieve than project-based and so negotiation with strategic partners like Arts Council England and One North East is suggested as a first stage, if the creation of any internal support posts is desired. 17.0 Equal Opportunities and Disability Discrimination We believe that no one should be denied opportunities because of their race or ethnicity, their disability, their gender or sexual orientation, their age or religion. The commissions strand and its associated programmes should take place within good practice of Equal Opportunities. The policies of South Tyneside and Sunderland, plus any held with the Wearmouth-Jarrow Partnership should inform and guide the processes of recruitment and general involvement to ensure that no-one is denied access to the programme and that opportunities are equally open for people who wish to apply or participate. 18.0 Planning requirements Commissions will require planning consent from a range of agencies and consultees and the development of commissions should take into account the processes and timescale required to achieve a decision. Listed Buildings, Scheduled Monuments, conservation areas and sensitive environmental impact are all issues which will call on careful appraisal of any proposal and which trigger the type and range of consultation.

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The key agencies will be the Local Authority, Diocesan Advisory Committee and English Heritage. These are not necessarily the only bodies which will be involved, as depending on the nature of commission proposals the lead Planning Authority or organisation will widen the field of consultees if necessary, so that a full range of statutory and non-statutory organisations. Groups and individuals are involved in the process of assessment. The Diocesan Advisory Committee has the planning role within the curtilage of both churches. Bill Heslop, the Care of Churches Secretary provided the following advise and guidance: The role of the Diocesan Advisory Committee for the Care of Churches (the DAC) goes beyond a mere granting of permission, which is strictly a later matter for the Consistory Court. The DAC is able to engage with prospective applicants and work constructively with them as they consider and formulate ideas. If you are contemplating any work or action at Jarrow St Paul or Monkwearmouth St Peter then from the beginning involve the local church (Rector, wardens and PCC) and the Diocesan Advisory Committee via this office. We would like to know what you have in mind. Often a meeting on site is a good start. It will be important therefore to consult at the beginning of the commission process about the nature of the proposed development. Websites which can be accessed for information and guidance include: Churches www.churchcare.co.uk www.spabfim.org.uk www.churchplansonline.org www.conservationregister.com www.ecclesiastical.com www.cofe.anglican.org

English Heritage DCMS web site www.culture.gov.uk for specific guidance notes for owners and occupiers of scheduled monuments www.helm.org.uk

Local Authority www.southtyneside.info/planning/development/enquiries.asp

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19.0 ARTIST SELECTION METHODOLOGY 19.1 Artists/practitioners database We have created a list of artists/craftspeople to illustrate the range and quality which we believe is essential for the public art programme to successfully support the bid. Generally we hold that because of the international importance of the sites and the need to uphold quality in all commissions that the artists/craftspeople must be of such a quality that their work is entirely concomitant with the requirements of the Wearmouth-Jarrow bid and its aspirations as a World Class World Heritage Site. More comprehensive information is presented under artform strands in Appendix 22.2 Page 30. 20.0 Artform Strands Suggested Artform areas within the relative Universala strands targeted include the following: Light of Life Light Multi- Media Sound / Music Artisan Glass Stone / Sculptural Letter-cutting Furniture Metalwork Typography / Mapping Landforming Bioscope Archaeological / Environmental Community / Site-Based Creative Writers / Poets Photography Peter and Paul Live and Participatory Arts Community Arts Educational Youth Arts

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21.0 Artist Databases Used As well as utilising known contacts, a number of online portals have also been used to identify new artists working in the prioritised artistic thematic areas. Those identified include both international, national and regional artists linked to the potentially twinned locations. The portals utilised include the following:
Art Public European Portal on Public Art - www.art-public.com Culturebase The International Artist Database - www.culturebase.net Axis Web - Leeds Metropolitan University - www.axisweb.org/seHOME.aspx Commissions North - Arts Council England NE - www.commissionsnorth.org/showcase Public Art Online Arts Council England SE www.publicartonline.org.uk ARTS UK Image Bank - www.arts-uk.com/newartsuk/image_bank.html Arts and Sacred Places - www.artandsacredplaces.org Crafts Council Photostore - www.photostore.org.uk/seADVN.aspx?TYPE=MAKER Art Workers Guild Members Search www.artworkersguild.org/index.php?pid=13&view=memberList Contemporary Glass Society - www.cgs.org.uk Sculpture at Goodwood - www.sculpture.org.uk Sunderland Cultural Masterplan - www.callforartists.org Artpoint - www.artpointtrust.org.uk/artists/index.asp

2.0 APPENDICES 22.1 Consultees List The following people were consulted or supplied information either in face to face meetings, by telephone or email.
Person Revd Tom Gibbons Revd Bill Braviner Jenny Lancaster Revd Dr Ian Stockton Laura Sole Katherine Pearson Steve Cowie Grainne Sweeney Professor Peter Davies Dr Richard Hollinshead Claire Douthwaite Jane Gosling Pearl Saddington Matthew Jarratt Andrew Knight Reg Gove Ian Walker Erich Kadow Bill Heslop Robert Cooper Helen Wiltshire Organisation St Peters Church St Pauls Church St Pauls Church St Andrews Church Wearmouth-Jarrow Partnership National Glass Centre National Glass Centre National Glass Centre University of Sunderland Glass/Ceramics Grit and Pearl Sunderland Public Art programme Bedes World Bedes World Bedes World Commissions North Nexus Public Art Programme Light Folio Light Folio Continuum Diocesan Advisory Committee Arts Chaplain in Durham Diocese South Tyneside MBC

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22.2 UNIVERSALA ARTFORMS & ARTISTS LIGHT OF LIFE Light of Life - Light Artists Yann Kersale

Until 10 years ago, the port of Saint-Nazaire (Britanny-France) was still considered an economic " no man's land " with sporadic industrial activity which was affecting thereby the well being of its inhabitants. To reconcile the city with its harbour zone including the gigantic submarine underwater base built by the occupying German forces during WWII , the City Mayor subscribed to the proposal of the artist to transform positively the harbour with Light works. Presently the port is enlightened every evening and is considered a tourist attraction. Keiichi Tahara www.keiichi-tahara.com info@keiichi-tahara.com

In Echoes of Light, Keiichi Tahara employs light in a space that by definition is always in darkness. Tahara has created an entirely original light installation in the underground sections of the canal Saint-Martin between the streets Chemin Vert and Oberkampf. The installation covers up to 600 metres of the tunnel walls and takes ten minutes by boat. 30

An arrangement of 24 light projector appliances on the ceiling of the tunnel creates, through beams of light passing through prisms and reflected off mirrors, a series of rainbow like projections that vary in intensity and direction. The title Echoes of Light is a reference to the sound that the water makes in the tunnel. The projections echo the curvature of the tunnel as well as reflecting off the water itself. This interaction between the water and the light is accentuated by the movement of a boat on the canal. It is the movement of the boat through the tunnel that sets off the series of illuminations. David Ward

David Ward has exhibited nationally and internationally and is also known for his work relating to architecture, including the Royal Festival Hall and Sir John Soanes Museum. He was visual artist for the Siobhan Davies Dance Companys most recent work Bird Song, performed at Sadlers Wells in 2005. The light feature Zenith depicts an analemma - an elongated figure of eight, based on an ancient method of timekeeping, whereby the sun's position is plotted on the ground. Here 52 lights are embedded in the limestone paving representing the zenith of the sun above New World Square over the course of a year. At night the lights are programmed to produce a number of free-flowing patterns. ACTs engineering realisation of David Wards vision resulted in the use of 52 omnidirectional medium intensity inset burial lights, manufactured by Thorn Airfield Lighting for use in Heliports. Each luminaire utilises a 35watt 40 degree reflector lamp with blue dicroic filter focussed into a glass prism. An integral omnidirectional diffuser produces an intense beam suitable for long distance visibility. Each of the 52 burial lights is connected to its own dimmer contained in a 72-way Strand EC90sv dimmer rack. The remaining 20 channels, together with 3 remote Strand LD90 24way dimmer racks switch the New World Square lighting, thereby providing a total and coherent lighting control system for the entire space. A Premiere 62020 Central Processor

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Unit provides the industry standard DMX-512 control to the dimmer racks. The processor utilises an in-built Astronomical Clock and Events Controller to give automatic recall of the Zenith lighting patterns, together with the 12 preset lighting scenes for New World Square. The system incorporates a Premier 62300 Command Station and a Premiere 62200 LCD Display Station for manual over-ride and control of the system for special events and occasions. The site takes full advantage of the Calendar Event function of the Premiere software, which can automatically recall up to 600 events, and also utilises the dusk to dawn functionality of the built in Astronomical clock. Susan Collins www.susan-collins.net

Susan Collins is known for her subtle interventions in public spaces. She exhibits nationally and internationally using a range of media including online commissions for Tate and Film and Video Umbrella. Permanent commissions include an award-winning collaboration with the architect Sarah Wigglesworth on a Classroom of the Future and an installation for the new University College London Hospital. Underglow, literally lights up the world beneath our feet the artist has discovered a unique way to illuminate around twenty drains in the area with LED lights, revealing the complex of tunnels which runs beneath the City by giving the drains an ethereal glow of vibrant colours. Sites include Queen Street, King Street, Watling Street and Guildhall Yard. Miguel Chevalier miguel.chevalier@wanadoo.fr www.miguel-chevalier.com

This is a permanent installation 15 x 8 m (49 x 26 ft) comprising a holographic display made up of 24,500 LEDs which emit as visitors enter and leave the building. A symbol of interconnections and exchanges between cities around the world, Living Networks offers a

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new perspective on global/local relations. Thirteen electronic ticker displays show news from other cities with which the Palais des Congrs is interconnected. Ange Leccia

At the request of the "young peoples" town council of the city of Lyon , this work by Ange Leccia is intended to celebrate the passage to the third millennium. It is placed at a symbolic site, at the end of a Peninsula, at the confluence of two rivers (the Rhone and the Sane). A place which is at the cross-roads of maritime, rail and road traffic. The art work has the shape of a container , a transparent glass container, which contains not goods but words. Ange Leccia used sentences written by the young people of the city. Like a hyper text, the words are intermingled to make sense as well as to be a signal. By linking the density of their energy, these blue words placed in the heart of the container create an illuminated signal, which shines day and night at the entrance of the city. Franoise Schein schein_f@yahoo.fr

The Time Zone Clock is a monumental permanent structure in Millennium Square, at the heart of Coventrys commercial district. This massive timepiece consists of 24 bars set into the slate floor of the pedestrian square, which are lit from underneath. The hour of the day corresponds to the number of lit bars, while the minutes are kept by luminous dials at the end of each bar. On stainless steel circular plates around the bars are the names of the capital cities of the countries of the world, and the names of Coventrys 26 sister cities. The 33

clocks blue neon lights animate the square as they record the passing time. Franoise Schein, artist and urban architect, conceived of the Time Zone Clock in 1988 as installation for the World Trade Center in New York City. It was fitting that this work was ultimately constructed in the country that gave birth to the time zone system and where no similar tribute had existed before. This work has particular relevance to Coventry, with its important history of industrial clock and watchmaking, and its collection of sisters cities from around the globe. Peter Freeman www.peterfreeman.co.uk

Artist working with light. Lighting installations feature Neon, Cold-Cathode, Fibre-Optics and Floodlights. The pieces use light which is animated and shifts colours or tones by a variety of means including pre-programmed computer commands and text messages which trigger a choice of light sequences Martin Richman www.dominicberning.com

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Martin Richman's work addresses issues concerning light, colour and space both in the private and public realms. Richman creates spaces which deal with moments of seductive promise and frustration; the spaces are often physically unattainable yet imaginatively inhabitable. Tony Oursler In Soho Square, London, on a November night in 2000, disembodied heads and dislocated sounds switched on and off. In the heart of London's media world, leading American video artist Tony Oursler created a spectral son-et-lumire for our image-saturated age. In The Influence Machine the artist delved deep into the early 'phantasmagorical' days of the moving image and mixed modern technology with the wonder of the magic lantern. Deimantas Narkevicius

Born in Utena, Lithuania in 1964. He lives and works in Vilnius. Over the last five years he has developed a facility for storytelling, using film as his chosen medium. Narkevicius often switches back and forth between recollections of the past and experiences of the present day, using found footage in juxtaposition with his own film-making. His approach is reflective of the techniques and styles of amateur and professional documentary films made in his home country during the 60s and 70s. The proximity between two sources of imagery makes the passing of time more evident and each film becomes defined both by its past and its present, lending additional weight to the narrative. Langlands & Bell Plunged in a Stream by Langlands & Bell takes the hidden river Senne/Zenne running through the centre of Brussels and uses it as its starting point for an exploration of the cityscape, its history, languages and peoples. The installation is based around three elements: the digital re-imaging of the river at selected points of the site; floating avatar heads, texts and sounds to narrate an alternative mapping of the river; and finally a series 35

of networked interactive environments allowing the visitor to 'rediscover' the underground site from the inside via a digital reconstruction enabled by the highly the innovative TARA and MARI technologies. Plunged in a Stream covered the entirety of the Coudenberg Palace national archaeological site, creating a total immersive aesthetic environment for the viewer. Jeremy Deller Jeremy Deller's work, can take the form of live and recorded music, still photography and video, performance and book publishing. He presents himself as a very different kind of artist: curator, social entrepreneur, actor, and producer. In the film The Battle of Orgreave (2001), (directed by Mike Figgis and shown on Channel 4 in 2001), Deller presents the bloodiest episode of the miner's strike of 1984-85. The story is re-enacted in the manner of historical re-enactment societies. But this historic battle took place only 15 years earlier, working with people who were actually involved in the original event. Rose Finn-Kelcey

work has embraced an extraordinarily wide variety of media and styles including performance, sculpture, sound and most recently a series of works using LED technology. References to the spiritual and the use of language are recurring motifs in her work and these themes are often explored within a public context by siting her moving/ animated messages outdoors, in direct view of passers by. Through the use of subtle interventions, Kelcey subverts existing social mechanisms or conventions to portray an entirely different message, usually with witty and ironic results. Nathan Coley

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He studied Fine Art at Glasgow School of Art and is now based in Dundee. Nathan has exhibited worldwide and recently presented Show Home across the city of Newcastle upon Tyne and The Black Maria as part of The Christchurch Biennial, New Zealand as well as featuring in the major survey show of Scottish Art "Here and Now". Nathan is interested in the way the values of a society are reflected in its built environment. As the stage upon which our lives unfold how does the architecture we are surrounded by determine our sense of what is possible? Throughout his practice Nathan has investigated the way that constructed spaces add meaning to our cultural identity. Nathan's past works have involved researching and responding to existing buildings such as the Tower of Belem and Jerominos Monastery in Portugal, both declared World Heritage by UNESCO, the fourteen Churches within Munster, Germany, Bournville Rest House, Birmingham, York Minster and the 161 Places of Worship listed within the yellow pages in Birmingham. mail@doggerfisher.com www.doggerfisher.com Platform www.platformlondon.org Esther Shalev-Gerz www.shalev-gerz.net

For the Multicultural Centre of Fittja, the artist Esther Shalev-Gerz conceived a permanent, video-based installation in public space. Entitled First Generation, the project invites both foreigners and Swedes who moved to Botkyrka to engage in a reflection about their identity within multiple cultural references. The image of the self is never fixed, but in constant evolution: in a creative mode, people with multicultural backgrounds permanently negotiate and (re)create their identity. This is both enriching and destabilising, as the language and cultural values at the (im)migrants' disposal are not pre-established, but the result of a conscious choice at each moment of their lives.

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Esther Shalev-Gerz lets the work emerge bit by bit, reworking its concept constantly. By deciding to separate sound and visuals, the artist invites the visitors to explore the space between story and image. This leaves sufficient room for the delicacy of human interactions to emanate from the artistic process. Jem Finer www.elrino.co.uk/JemFiner/JemFiner.html Hans Peter Kuhn www.HPKuhn-art.de Michael Pinsky www.michaelpinsky.com Greyworld www.greyworld.com Light of Life - Sound / Music Artists Duncan Whitley Studied Music Technology at South Thames College in London, before going on to complete a BA in Fine Art Intermedia at Kingston-upon-Thames University, Surrey. Exhibitions include: Masterpoint curated by Artlab at the Imperial College, London, in 1999; Breaks and Pieces at the Stanley Picker Gallery, Kingston- Upon-Thames; Untitled Work for Headphones, a limited-edition audio compact disk published in 1999; I love Your Work at Hoxton House, London, 2001; Minimal Existence at the Isokon Flats, Belsize Park, London, 2001. Duncan Whitley currently lives and works in London. Art Music www.artmusic.org.uk info@artmusic.org.uk

Thin Air interactive sound sculpture at St Fin Barre Cathedral, Cork Capital of Culture 2005 installation by Art Music Composer Helen Ottaway & sound designer Alastair Goolden

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Located throughout ambulatory in the Cathedral Sensor interactive played in infinite variation music, readings and sound fragments Janet Cardiff http://www.last.fm/music/Janet+Cardiff Janet Cardiff was born in Brussels, Ontario and studied at Queen's University (BFA) and the University of Alberta (MVA). She works in collaboration with her partner George Bures Miller. Cardif's installations and walking pieces are often audio-based. Janek Schaefer www.audiOh.com janek@audiOh.com

Janek was born in England to Polish and Canadian parents in 1970. While studying architecture at the Royal College of Art [RCA annual prize], he recorded the fragmented noises of a sound activated dictaphone travelling overnight through the Post Office. That work, titled 'Recorded Delivery' [1995] was made for the 'Self Storage' exhibition [Time Out critics choice] with one time postman Brian Eno and Artangel. Since then the multiple aspects of sound became his focus, resulting in many releases, installations, soundtracks for exhibitions, and concerts using his self built/invented record players with electroacoutisc collage. The 'Tri-phonic Turntable' [1997] is listed in the Guinness Book of Records as the 'World's Most Versatile Record Player'. He has performed, lectured and exhibited widely throughout Europe [Sonar, Tate Modern, ICA], USA/Canada, [The Walker, XI, Mutek, Princeton], Japan, and Australia [Sydney Opera House].

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ARTISAN Artisan - Glass Artists Liam Gillick http://www.learning.channel4.co.uk/culture/microsites/B/bigart/gallery_2_gallery_7.html Architects Terry Farrell and Partners commissioned artist Liam Gillick (who thinks a great deal about the shifting relationship between art, design and architecture) to incorporate coloured panels and geometric screens into the design of a new Home Office building in London. Gillick's designs are not bolted-on, but integral to the architecture, and on a sunny day they bathe the building and street in coloured light Alexander Beleschenko http://beleschenko.com Katayoun Pasban Dowlatshahi www.axisweb.org/seCVFU.aspx?ARTISTID=6769 Katayoun Pasban Dowlatshahi is an Iranian-born British artist working in contemporary photographic art, architectural glass and time based media. Trained in Edinburgh, Winchester and Barcelona, she now has a growing portfolio in the realm of public art. Her practice is informed by sacred and contemporary architecture, subtle ambiguities of light and by environmental factors. Katayoun's substantial body of work includes: The Garden of Eden: Fruits of Desire commissioned by Fotofeis for their International Biennial of Photographic art; Internal Realms: External Spaces produced from her year as Durham Cathedral Artist in Residence, and subsequently premiered in the United States at Fotoseptiembre - International Biennial of Photographic Art. Franois Rouan

The interiors of the Saint-Jean Baptiste Church are characterized by sharply contrasting areas of light and darkness. In the design of its stained-glass windows, Franois Rouan sought to strike a balance between the bright walls of the medieval nave and the deep shadows of the sanctuary. The artist used the cross symbol as a repetitive motif, within 40

precisely defined areas of colour, to play with the tension of this contrast; the resulting compositions are meant to evoke the larger symbolic connotations of birth and death. The nine windows were etched with fluorhydric acid and painted in enamel grisaille by the studios of Jacques Simon. The work was commissioned by the DAP and the French Ministry of Culture. Christophe Cuzin www.ateliers-duchemin.com

The stained-glass windows and the painting of the Saint-Martin de Lognes church, designed by Christophe Cuzin in 1999. Executed by the ateliers Duchemin. Javier Gomez http://www.studioglass.co.uk/sgg2004/artists/art-javier-gomez.htm Born in 1957 in Spain. As an apprentice with the local window company, Javier learnt the art of working with panes of glass as a teenager. He went on to apply these techniques to sculpture, creating decorative pieces using laminating, cutting and sandblasting to obtain intricate, delicate three-dimensional forms in a variety of colour. William Tillier

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William Tillyer's work has been shown frequently in London and New York since 1970. Admired by fellow artists and collectors, it has mystified critics, even those eager to praise him. Why does his work keep changing? Why does each new phase seem to contradict and undermine the last? Why doesn't he establish a brand image and stick by it? Much of his art and its motivation is stimulated by a dialogue about the nature of painting, what it was, is and could be. He sees this dialogue as a continuum a conflict of 'The Real' and it's opposition, 'Artifice' so in articulating such a dialogue he puts it to the service of an all embracing 'Universal' view; where each and every element is equal and reductive. William Tillyer was commissioned to create an 8ft diameter circular window as part of the restoration and remodeling of Gunnerton Church. The final design was selected for a Hadrian Award, which celebrates and promotes the best in architecture and design of the built environment in the North East and Cumbria. Martin Donlin www.martindonlin.com Julian Stocks www.julianstocks.com Brian Clark http://www.bridgeman.co.uk/search/r_results.asp?stype=all&page=&order=0&view=1&artis t=CLARKE,%20Brian%20(b.1953) Eva Vlckova www.studioglass.co.uk/sgg2004/artists/art-eva-vlckova.htm Born in 1966 in the Czech Republic. She is one of the last of Stanislav Libensks students, graduating under Professor Vladimr Kopeck. Her work, ranging from small and intimate to monumental pieces, is mainly in cast glass with acid finish and often polished. Libensks influence can be seen throughout her sculptures. Ritsue Mishima http://www.mishimaritsue.com/profile/index.html Ritsue Mishima was born in Kyoto in 1962. Moving to Venice in 1989, Ritsue started working with glass in 1996, collaborating with the craftsmen of Murano island. She has had numerous solo and group exhibitions in Japan and Europe and was awarded the Giorgio Armani Prize for Best Artist at Sothebys Contemporary Decorative Arts Exhibition 2001 (London). Artisan Stone / Sculptural Peter Randall-Page www.peterrandall-page.com

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Peter Randall-Page studied at Bath Academy of Art between 1973 and 1977. He then moved to London and spent a year working with the sculptor Barry Flanagan. He has exhibited extensively in solo and group exhibitions in the UK and abroad. His work has been on show at Arnolfini, Bristol, the Tate Gallery London, Manchester City Art Gallery, Roche Court Sculpture Garden, Mall Gallery London, Chelsea Harbour Sculpture, John Hansard Gallery Southampton, and the Leeds City Art Gallery, Goodwood and the Yorkshire Sculpture Park. His work is included in numerous Public Collections including The British Museum, The British Council, The Contemporary Art Society, University of Tasmania, Tate Gallery and the British Embassy in Dublin, Eden Project, Cornwall. Artisan - Letter Carving Richard Kindersley www.kindersleystudio.co.uk

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Richard Kindersley is one of the leading letter cutters in the UK. He studied lettering and sculpture at Cambridge School of Art and in his father's workshop. In 1966 he set up his own studio in London, accepting commissions for lettering and sculpture. Among his sculpture commissions are works for Exeter University, British Telecom, Sainsbury's, Lloyds Register of Shipping, Christies' Fine Art. Winner of 7 major brick carving competitions and awarded the Royal Society of Art, Art for Architecture Award. He has designed title lettering schemes for London Bridge, Tower Bridge and the M25 Queen Elizabeth Bridge over the Thames at Dartford; the New Crown Court Buildings in Liverpool, Leeds, Swindon, Newcastle and Luton; University buildings in Cambridge, Oxford, Exeter and Kent. Designs for theatres and major shopping centres where both the main building titles as well as the signing systems were produced, including the Grafton Shopping Centre, Cambridge, Piries Place, Horsham and St. Peter's Place, Grantham. Title lettering for the London Business School, Bank of Ireland, British Bank of Hong Kong in Dubai and Barclays Bank International; Penguin Books, Liberty's of London and the Lindisfarne Museum, Public Record Office, Kew. Inscriptions for many of the great churches and cathedrals around the country including St. Pauls and Westminster Abbey. John Neilson http://www.letterexchange.org/members/68.html

John Neilson studied calligraphy at Roehampton Institute, London, then worked for a year as assistant to Tom Perkins, returning to Wales in 1992. Most of his current work involves hand letter-carving in stone and slate, undertaken in the workshop or on site, and ranging from architectural lettering to memorials, plaques, and 'sculptural' pieces. He is included on the Crafts Council index of selected makers and is a member of the Arts Council of Wales Crafts Advisory Panel. Recent clients include Memorials by Artists, Cumbria Arts in Education, Royal Collection Trust, The National Trust, Christ Church Cathedral, Oxford, and various local authorities and private clients Tom Perkins http://www.tomperkins-lettercarving.co.uk http://www.gaynorgoffe-calligraphy.co.uk

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Tom Perkins is a letter-carver and lettering designer and has been involved in lettering design since 1970 and working to commission for the last 25 years. He designs and uses his own letterforms in all his work which includes carved inscriptions (using a wide variety of British stones and slates), lettering for graphics and painted lettering in buildings. He is currently working on a typeface design. His work has been exhibited both in the U.K. and abroad and he has recently completed a large opening plaque for the Queen's Gallery at Buckingham Palace. Incisive Letterwork www.incisiveletterwork.com

Incisive Letterwork was formed in 1988 by Brendan Berman and Annet Stirling. Incisive Letterwork focuses on large scale architectural inscription and word sculpture. The physical aspect of working with raw stone, the exploration of the marks that tools make influence their designing and the way they carve. Gareth Colgan www.garethcolgan.com

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Gareth Colgan began studying calligraphy at fourteen with Tim O' Neill MA at St.Benildus College, Kilmacud. Mr. O'Neill was then the only art teacher in the country with specialist knowledge of calligraphy. He studied of calligraphy at Roehampton Institute, London, gaining the Diploma in Advanced Calligraphy with Distinction. Elected a Fellow of the Society of Scribes & Illum-inators (London). He is the youngest Fellow of the Society and only the third to be elected from Ireland. His commissions include Dublin Docks Development Authority, Fingal County Council, University College Dublin, Trinity College Dublin, Darwin College Cambridge, University of Limerick, Irish Pastoral Liturgy Institute, Deutsche Bank, NCB, SAP, among others. Other letter-cutters include: Lida Lopes Cardozo Kindersley www.kindersleyworkshop.co.uk Charles Gurrey www.axisweb.org/seCVPG.aspx?ARTISTID=2422 Gillian Forbes www.forbesstonecarver.com Philip Surey www.artworkersguild.org/index.php?pid=13&memberid=217 www.philipsurey.co.uk Artisan Typography / Mapping Sam Winston

Winston's typographic stories became widely collectable after he started selling them through London's ICA. His books can now be found in the special collections of MoMA

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New York, the Tate Galleries London, the Victoria & Albert Museum and the British Library. Winston is also a visiting lecturer at various universities including The Royal College of Art and Camberwell College of Art. He has written for Baseline magazine and worked on various design projects, most recently the third Muse album, and typographic consultancy work for Ogilvy & Mather. Artisan Typography / Mapping Alison Turnbull www.mattsgallery.org/artists/turnbull/home.php info@mattsgallery.org Artisan - Artist Blacksmiths Brian Russell www.littlenewshamforge.com

Alan Dawson http://www.adawson-assoc.co.uk

Phil Johnson http://www.rathobyresforge.co.uk

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BIOSCOPE Bioscope - Archaeological / Environmental Artists Mark Dion www.tate.org.uk/learning/schools/markdion2394.shtm

Mark Dion produces artwork that consistently blurs the boundaries between natural history, art, and science. A recipient of the Larry Aldrich Award in 2001, his works both critique and celebrate the cataloguing and presentation of art, historical, and natural materials by museums, exploring themes as diverse as archaeology, consumer culture, ecology, environmentalism, and political activism Pablo Bronstein http://www.axisweb.org/grCVFU.aspx?SELECTIONID=15377

Pablo Bronstein uses architecture as a means to engage with power: of history, monuments, and the built environment. Using pen and ink on paper, his acutely drafted drawings capture an archival romance of a grand age, a nostalgic longing for the imposing and imperial. He was recently part of the University of the West of Englands (UWE) Situations programme, Material City; a collaboration with the University of Bristols (UoB) Department of Archaeology and Anthropology.

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Richard Wentworth www.sculpture.org.uk/biography/RichardWentworth

Wentworth emerged as a major British sculptor in the early 1980s. His work centres on the idea of transformation, of subtly altering and juxtaposing everyday objects which, in turn, fundamentally changes the way we perceive the world around us. He was recently part of the University of the West of Englands (UWE) Situations programme, Material City; a collaboration with the University of Bristols (UoB) Department of Archaeology and Anthropology. Bioscope - Community & Site-Based Artists Sans faon www.sansfacon.co.uk Peterhead (pop. 19,000) is a remote town on the north east coast of Scotland that faces a number of challenges, including a declining fishing industry and the long-term prospect of North Sea oil and gas running out. In January 2005, Aberdeenshire Council engaged Sans faon artist Tristan Surtees and architect Charles Blanc during the early stages of the towns current phase of regeneration. Sans faon worked with Stephen Bridge, a landscape architect from DEP Landscape Initiatives, to draw up outline proposals for the town. Sans faon then tested some of the proposals through creative projects within the town. Sans faon also masterminded a conference with presentations by international artists and architects, produced a local history map, and curated three artists to create temporary projects in the town. Sans faons work generated considerable interest within the town and beyond, and influenced key players at Aberdeenshire Council. In September 2005, Sans faon was appointed lead artist-team of the subsequent regeneration programme.

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Jeroen van Westen, Q. S. Serafijn and Hans Snoek www.jeroenvanwesten.nl www.qsserafijn.nl www.iso200.nl The space known as "Het Muizengaatje" (the Mouse Hole) is in effect the passage created by the Bergweg in Rotterdam, where it passes under the A20 motorway and a railway viaduct. In 1997 the Centrum voor Beeldende Kunsten (CBK; Centre for Visual Arts), the city run agency for the promotion of Visual Arts, was asked if artists could assist in improving the aesthetics of this location, where improvement and landscape works were scheduled. They appointed co-coordinator Maarten van Wesenmael and commissioned artists Jeroen van Westen, Q. S. Serafijn and photographer Hans Snoek to work with the city's landscape architects, to investigate a resolution to the space. Together, they proposed a design approach, which reveals the functions of the place and celebrates its particular qualities. As the refurbishment of Het Muizengaatje was completed in 2001, the same artist team was invited to advise on the redesign of the adjacent bus station. They were subsequently awarded a substantial grant to extend their socio-cultural approach to reclaiming 'left over spaces' to the 10km stretch of sterile space between the A20 motorway, which bisects Rotterdam. Bioscope Creative Writers Below is a small selection of writers who could be considered. Comprehensive information on published north east based writers is available at: http://www.literaturenortheast.co.uk Sean OBrien Sean OBrien is a poet, playwright, journalist, broadcaster, editor and critic. He grew up in Hull, read English at Cambridge and has lived in Newcastle since 1990. He has been Professor of Creative Writing at Newcastle University since September 2006. His collections of poetry have received awards including the Somerset Maugham, the EM Forster Award from the American Academy of Arts and Letters, and the Forward Prize, which he won for the second time with Downriver (Picador, 2001). In 2001 he was Northern Writer of the Year. In 2002 Picador published Cousin Coat: Selected Poems 1976-2001. He won a third Forward Prize for a single poem, Fantasia on a Theme of James Wright, in 2006. The poem is featured in a new collection, The Drowned Book, which published by Picador. Ellen Phethean Ellen Phethean has broadcast her poetry with The Poetry Virgins, a womens performance poetry group, on Womans Hour, Loose Ends (Radio 4) and Poetry Proms (Radio 3) and her work has been widely anthologised. Her radio poem, Witnessing Westgate Hill, was broadcast on Stanza on BBC Radio in July 1996.

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Ellens plays include Journey With A Golden Lady, which was broadcast by Radio 4 in May 2000. The University of Northumbria commissioned Olympia in June 2000, and Olympia the musical in 2005. Other work for the university includes A Life in Shadows in May 2001 and Did She Jump or Was She Pushed? in May 2004. Ellen's latest book, Wall (Smokestack Books, 2007) came out of her writing residency with Seven Stories and the Writing on the Wall project. This is a novel in verse for teenagers. Ellen works as a sound artist and poet, playwright and editor. She currently teaches writing for children to adults at The Centre for Lifelong Learning, and is working on a follow-up book in similar style to Wall. Peter Mortimer Peter Mortimer is a playwright, poet and editor who has been closely involved with the region's literary scene since the early 70s. He has written 16 plays which have been performed in the region by the likes of Live Theatre Co, Durham Theatre Co, Theatre Sans Frontieres, Pocket Theatre, Cloud Nine and Dodgy Clutch, as well as on BBC Radio 4. He is the founder and artistic director of Cloud Nine Theatre Productions, which was established in 1997 and only commissions new work, only by northern writers, and has thus far produced new plays by eleven dramatists, including Julia Darling, Tom Hadaway, Sean O'Brien, Kitty Fitzgerald, and Steve Chambers. Kitty Fitzgerald Kitty Fitzgerald began my writing career with the publication of my groundbreaking novel, Marge (Sheba), which dealt with subject of child sexual abuse in the format of a thriller. Her novel, Pigtopia, was published in the UK by Faber & Faber in September 2005, and in October 2005 by Miramax in the USA. Currently it has been sold to 15 different territories. Pigtopia came second in the Barnes & Noble Discover Award in the USA in spring 2006. She has been involved in a number of writing residencies in a variety of places. For instance in Manchester with The Sikh Action Centre which resulted in a book, Speaking for Ourselves and a video; in Yorkshire with Bradford & Ilkley College, working with tutors and students; on BBC Radio Newcastle which resulted in several slots promoting new poetry; in Gateshead with Libraries & Community Education which resulted in the development of a youth theatre which produced its own play, a mixed writing group and a Life Stories Group; on the Meadowell Estate in North Shields, which fed into the award-winning feature film Dream On and a book of women's writing Bill Herbert Bill Herbert was born in Dundee in 1961 and educated there and at Brasenose College, Oxford, where he published his PhD thesis on the Scots poet Hugh MacDiarmid (To Circumjack MacDiarmid, OUP, 1992). He has published six volumes of poetry and numerous pamphlets. 51

His last four collections, all with the northern publisher Bloodaxe, have won numerous accolades. Forked Tongue (1994) was selected for the New Generation promotion, was a Poetry Book Society Recommendation, and was shortlisted for the TS Eliot and Saltire prizes. Cabaret McGonagall (1996) was shortlisted for the Forward and McVities prizes; and The Laurelude (1998), written while he was the Wordsworth Fellow at Grasmere, was a PBS Recommendation. All three books won Scottish Arts Council book awards. In 2000 he edited the bestselling anthology Strong Words: Modern Poets on Modern Poetry with Matthew Hollis. Linda France Linda has had five poetry collections published with Bloodaxe Books: Red (1992), The Gentleness of the Very Tall (1994, Poetry Book Society Recommendation/Los Angeles Times Book Award longlist), Storyville (1997), The Simultaneous Dress (2002) and The Toast of the Kit Cat Club (2005), a verse biography of Lady Mary Wortley Montagu (16891762), poet, traveller and letter-writer. In 1993 she edited the anthology Sixty Women Poets (PBS Special Recommendation) which went into its fourth edition in 2002. Since early 1990 she has been involved in various Poetry in Public Spaces projects, collaborating with visual artists in different media on text to be installed into the landscape or within buildings. Major pieces have resulted from working with stone carver Alec Peever - at Royal Quays, North Shields, and in Mowbray Park, Sunderland and with blacksmith William Pym at Hawthorn Cokeworks, Murton, County Durham Bioscope - Photography Jimmy Symonds

An image from Jimmy Symonds' 'Lexicon' is shown. 'Lexicon' is his personal photographic journey through a dictionary. The box which houses 'Lexicon' contains 144 photographs each one illustrating a chosen word or phrase. Placed in alphabetical order, they are classified according to part of speech and date of first usage. 'Lexicon' is designed so that the number of photographs for each letter reflects actual lexicographic frequency in English. Symonds is inspired by journeys, both literal and metaphorical; by the way in which a walk can connect seemingly disparate things, as a medieval wood may back onto an industrial 52

estate. Likewise in a dictionary you can travel anywhere and everywhere and yet still find the narrative is maintained. For an artist, a dictionary can be a tool with which which to weave diverse experiences into a coherent whole. Dictionaries are liberating. Faye Chamberlain www.fayechamberlain.co.uk fayechamberlainphotographer@hotmail.com

Jason Orton www.callforartists.org/?id=291 orton67@yahoo.co.uk Rachel Speed www.rachelspeed.co.uk contact@rachelspeed.co.uk

PETER AND PAUL Peter and Paul - Live and Participatory Arts Walk The Plank www.walktheplank.co.uk 53

Walk the Plank creates arts events, fire shows, firework displays and community-based work; and owns and operates Britain's only touring theatre ship. They were responsible for the processional installation and mass lantern parade that marked the end of the 2002 Commonwealth Games in Manchester. Royal De Luxe www.thesultanselephant.com/about/royaldeluxe.php

Royal de Luxe are an extraordinary European street theatre company, renowned on three continents but hardly known in Britain. In the past dozen years, they have created a series of spectacular shows involving giant figures as big as 11 or 12 metres high. Extraordinary interactions take place between passers-by and the performance; residents become enchanted with the activities of these miraculous beings and begin to follow their every move. They are best known in the UK for the recent project Sultans Elephant involving a huge animatronic Elephant and puppet figures.

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Artichoke Productions www.artichoke.uk.com

Artichoke is a creative company that puts on extraordinary shows that change the way people look at the world. They are currenly working with Liverpool 2008 Capital of Culture on a live arts programme for September 2008. Lanterhouse International www.lanternhouse.org

Lanternhouse International, based in Ulverston, Cumbria, is a pioneering creative company which creates unique, large-scale, mass participation. Previously Welfare state International they have a very long track record in delivering major participatory programmes, including the creation of the annual Ulverston Lantern Parade. NVA www.nva.org.uk

NVA is an environmental arts charity that works with pioneering artists to produce highly complex and ambitious site-specific events and artworks.

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Peter and Paul - Community Arts William Titley www.williamtitley.org

Often employing elements of community consultation to engage directly with place and people, the projects explore ideas of location, identity and spatial ownership. Utilizing local resources to facilitate projects and empower communities, the work acts as a catalyst for dialogue and reflection: from archive interventions, documentaries and exhibitions, to private commissions, performative curation and community workshops. Jo Roberts www.jorobertsjourney.com

Sees herself as a Commentariographer - a word last used in 1576 - Someone who writes, mediates, ponders, portrays or records. One who comments on current events and produces an expository treatise. Her practice as a visual artist is project based, the work evolving over a period of time. Communication is central to her practice. She is interested in the minutiae of everyday life and highlighting the specific. She is curious and inquisitive about people, places, things and their interaction with one another. She has an interest in the artist as a catalyst; an agent for change, often in a subtle way. She likes the knowledge that after a project something, however modest, is different. She is fascinated in journeying, investigating and recording the things she discovers And likes to see the quirky side of life.

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EDUCATIONAL Educational - Youth Arts Andrew Fox

www.seaofwires.co.uk Andrew Fox regularly publishes his thoughts and photography on A View on the Ocean. Andrew Robert Fox completed his Fine Art degree in 1995 exploring the notion of Romanticism and a possible post-modern Romanticism with photography, sound and video art. In Stoke on trent Fox worked with young people and teachers, along with two other artists from the different disciplines of dance and pottery, to explore who and what is significant to them in the local area. Babbling Vagabonds www.babblingvagabonds.co.uk

The Babbling Vagabonds present a new series of half or full day workshops for Primary Schools. The workshops use all the wonder of theatre and all the limitless scope of childrens imaginations to create fun, innovative, interactive workshops.

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22.3 FUNDING The following is a catalogue of potential funding sources. Funds and funding criteria change regularly and so this information should not be seen as a definitive or completely current. Please use it as a reference tool to act as a starting point for your funding applications and check the particular source you are considering to confirm the most recent funding criteria and guidelines. EUROPEAN UNION FUNDS Funds from the EU relevant to arts and culture are either Structural Funds or TransNational Funds. Structural Funds Government Office is responsible for the application of European Structural Funds within eligible areas. The first step in applying for European funds is to approach GONW; in a local authority context this will be best done through the European Officer or Economic Development section. ERDF (European Regional Development Fund) ESF money is used to give financial support towards the running costs of projects run by a variety of organisations. These projects can include those for training, employment, education, research and childcare. ESF also supports Government programmes, including the New Deal. SF is applicable to any legally constituted organisation (any organisation formed with a legal document such as an agreement or memorandum of association). Organisations will also need to receive some financial support from a public authority. Individuals cannot apply for ESF money. Euclid Culture Programme 2007-2013 - provided by EUCLID, the UK Cultural Contact Point (CCP) - www.culturefund.eu / www.euclid.info The Culture programme is the EUs fund for arts and culture. The Culture programme offers support for the following range of activities most people will be interested in strands 1.1 and 1.2, which provide grants for projects of up to 5 years. Strand 1: Support for Cultural Actions This strand, accounting approximately for about three-quarters of the programmes budget, aims to enable a wide range of cultural organisations coming from various eligible European countries to collaborate on cultural and artistic projects. This strand has three sub-categories: 1.1 Multi-annual co-operation projects over a period of three to five years. 1.2 This covers both co-operation projects over a maximum period of two years (1.2.1) and literary translation projects (1.2.2) 1.3 Special measures, which relate to high-profile actions of considerable scale and scope. This includes co-operation with third countries. This strand also includes support for two 58

prizes for contemporary architecture and for cultural heritage. A further prize for literature is being developed. Strand 2: Support for Cultural Bodies This strand, with about 10% of the programmes budget, supports cultural bodies working at the European level: networks, festivals and cultural ambassadors. These bodies may encourage exchanges between cultural organisations in different European countries, identify the European artistic communitys needs, represent the sector in dealing with EU institutions, participate in the public debate on cultural issues, and act as European cultural ambassadors. Strand 3: Support for analysis and dissemination activities This strand, with about 5% of the programmes budget, aims to support analysis and dissemination activities in order to raise awareness of the Culture programme and its activities. The first focus is on providing support for analyses in the field of cultural cooperation and policy development. The second is by supporting the cultural contact points which will ensure the effective grassroots dissemination of practical and targeted information on the programme in all participating countries. The final focus is on supporting the collection and dissemination of information, so that cultural operators can make use of the output and results of already EU-funded projects. Media Plus http://ec.europa.eu/information_society/media/overview/2007/index_en.htm The audiovisual sector is covered by the Media Plus programme more information from the UK Media Desk). The overall objectives of MEDIA 2007 have been decided on the basis of these requirements: To preserve and enhance European cultural diversity and its cinematographic and audiovisual heritage, guarantee accessibility to this for Europeans and promote intercultural dialogue; To increase the circulation of European audiovisual works inside and outside the European Union; To strengthen the competitiveness of the European audiovisual sector in the framework of an open and competitive market.

European Cultural Foundation Grants www.eurocult.org/we-support-cultural-cooperation/programmes/mobility/apply-step-beyond The European Cultural Foundation provides grants for artists and performers to collaborate and network with other young Europeans. There are no application deadlines but applications to the STEP beyond travel fund should be submitted at least eight weeks before the date of travel. The Fund has a particular focus in 2007 and 2008 on promoting Europes cultural diversity. The fund is available to artists, cultural operators / activists, cultural journalists, cultural 59

translators and cultural researchers. The STEP beyond fund will make a contribution to travel costs, visa costs, and, in certain cases, accommodation costs (through an allowance) of those awarded a grant. It is an asset if the host organisation could support the accommodation costs. Applications can be made at any time. CENTRAL GOVERNMENT AND REGIONAL AGENCIES Neighbourhood Renewal Community Chests http://www.neighbourhood.gov.uk/page.asp?id=5 The Neighbourhood Renewal Fund (NRF) is a special non ring-fenced grant which has been made available to Englands most deprived local authorities, to enable them in collaboration with their Local Strategic Partnership (LSP), to improve services, narrowing the gap between deprived areas and the rest of the country. Landfill Tax Credit Scheme - www.ltcs.org.uk and www.entrust.org.uk The landfill tax credit scheme was introduced with the landfill tax in October 1996 and enables landfill site operators to redirect up to 20 per cent of their landfill tax liability to environmental projects in return for a 90 per cent tax credit. These projects should conform to one of six objects set for the LTCS, among which are projects that provide or maintain public amenities or parks within 10 miles of a landfill site and projects to restore or repair buildings for religious worship, or of architectural or historical interest within 10 miles of a landfill site. In practice most funding is for green projects and typical grants are between 5000 and 50,000. Recent changes to the scheme have directed more of the fund towards research and improvement in waste management and less for community environmental projects. Distributions are made by registered Environmental Bodies, which must not be controlled by a local authority. To find the distributive Environmental Bodies In your area see the directory on the Landfill Tax Credit Scheme website www.ltcs.org.uk Local Strategic Partnerships Local Strategic Partnerships co-ordinating bodies involved in funding mainstream regeneration rather than artwork grant-givers. However, examples exist elsewhere for precedents to justify this approach. The key is not restricting the cultural and artistic scoping stages to just regeneration professionals but to involve other arts agencies, professionals and creatives at the earliest stage. Community Empowerment Fund - www.neighbourhood.gov.uk/document.asp?id=106 36m over 3 years will support community and voluntary sector involvement on Local Strategic Partnerships in the 88 areas eligible for the Neighbourhood Renewal Fund (NRF). Funding can be used to pay for activities such as outreach, surveys and training, and to support the local infrastructures which will allow people to get together to express their views and develop solutions. NATIONAL LOTTERY DCMS asked the New Opportunities Fund and the Community Fund to work together to create a single new lottery distributor - the Big Lottery Fund.

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BIG LOTTERY FUND: www.biglotteryfund.org.uk The Big Lottery Fund builds on the experience and best practice of both organisations to simplify funding in those areas where the two bodies currently overlap, and to ensure lottery funding provides the best possible value for money. It is likely to run a range of different types of funding programmes. Some of these will be 'open' grant programmes, where a wide range of organisations can apply by completing an application form. Other programmes are likely to concentrate on strategic partnership working across different sectors, funding for infrastructure and development, or opportunities for voluntary sector involvement in the delivery of community services. Awards for All - www.awardsforall.org.uk Awards for All is a key Big Lottery Fund grants scheme aimed at local communities. It awards grants of between 300 and 10,000 in a simple and straightforward way. It seeks to fund projects that will involve people in their local community helping them to take part in new arts, sport, heritage and charitable activities. HERITAGE LOTTERY FUND - Townscape Heritage Initiative - www.hlf.org.uk The Townscape Heritage Initiative (THI) is a grant-giving programme under which we support schemes led by partnerships of local, regional and national interests that aim to regenerate the historic environment in towns and cities across the United Kingdom. ARTS COUNCIL ENGLAND - www.artscouncil.org.uk/funding The Arts Council England (ACE) is the national body for the arts in England. ACE distributes public money from government and the lottery to artists and arts organisations, both directly and through the 10 Regional Arts boards. Grants for the Arts Individuals & Organisations GFTA is administered in the region by Arts Council NE It provides funding for arts activity (amounts vary between 2,000 to 30,000 in any one year), capital projects (amounts from 2,000 to 100,000) and organisational development (up to a maximum of 30,000). However precedents do exist for larger strategic contributions, providing key aims are being targeted and quality is exceptional. Funds for arts activity are used to support projects in the areas of: Access to the arts Education through the arts Production and distribution of the arts Investment in artists Development to help build long-term stability of arts organisations. Applicants must be formally constituted and partnership funding of 10% in cash from another source is strongly encouraged. Applications are accepted at any time and decisions take four months. Creative Partnerships - www.creative-partnerships.com/offer The Government announced in February 2008 that each child should be offered at least 5 hours of high quality culture per week, in and out of school. They are seeking expressions 61

of interest from partnerships wishing to explore how this could be achieved. The deadline for submitting an expression of interest is April 7 2008. LOCAL AUTHORITIES Each local authority area now has, or should be working towards the creation of a Local Strategic Partnership (LSP). Local Strategic Partnerships Local Strategic Partnerships are a body that involves organisations from the public, private and voluntary sectors. Among other things this partnership is responsible for drawing up a community plan and then making sure that it is put into action. Most of these Community Plans have some sort of Cultural Strategy, and often these include guidance through SPD or otherwise of Public Art Strategies. The LSP is not a funding body as such, but the community plan will influence the priorities of key organisations in the area and the projects for which they will apply for funding. For that reason it is important that the contribution that cultural projects generally, and public art in particular, can make to community objectives is reflected in the community plan. Community Strategy Many local authorities are taking increased interest in the contribution that culture can make to regeneration through a Community Strategy delivered through their Local Strategic partnership. From this comes the delivery of the Cultural Strategy. Most local authorities have only limited funds of their own for public art but may have access to external funding sources such as regeneration, Section 106 or new Planning Tariff funds. Section 106 of the Town & Country Planning Act 1990 allows a local Planning Authority to enter into a legally binding agreement with a land developer sometimes termed as a 'Section 106 Agreement'. Such agreements can include payment of sums of money for agreed purposes such as public amenities and environmental improvements. CHARITABLE TRUSTS AND FOUNDATIONS A great number of these funding bodies exist, but most have very particular funding requirements that need to be considered on a project-by-project basis in advance. For the purposes of this Appendix, all bodies are included but it is accepted that some will not be applicable for whatever reason. In addition, all usually involve a significant amount of work to complete applications and so this must be taken into consideration when deciding what to apply for, along with the recognition that not every application will be successful or be awarded in full. Notable funding bodies include: Art Fund - www.artfund.org The art fund is the UK's leading art charity. Since 1903 it has: made the case for adequate funding for acquisitions; acted as an advocate for museums and galleries; stimulated public debate and influenced policy-makers; and secured thousands of works of art for public 62

enjoyment. Any UK public collection accredited with the Museums, Libraries and Archives Council (MLA) may apply to the Art Fund for a grant. Funding ranges from a few hundred pounds to hundreds of thousands of pounds, and they may be willing to meet the total cost of an acquisition in exceptional circumstances. For grants above 5,000 the trustees consider applications every two months. Coalfield Regeneration Trust - www.coalfields-regen.org.uk The Coalfields Regeneration Trust is dedicated to improving the quality of life for people in Britains coalfield communities. The Trust is an independent charity and company limited by guarantee. Its mission is to lead the way in coalfields regeneration and to restore healthy, prosperous and sustainable communities. In order to achieve this mission, the two key objectives are: To complement the work of economically-driven agencies by focusing on the so-called softer side of regeneration; and to inform and influence policy-makers with regard to coalfields issues, and bend mainstream spend to needy coalfields communities. Samling Foundation - www.samlingfoundation.co.uk The Samling Foundation invests in youth and the pursuit of artistic excellence. By providing unique opportunities for young people to learn from and perform alongside great artists, it provides a sanctuary where distinctive talent can be nurtured. The Foundation recognises that there is no substitute for live performance in the presence of the finest artists when performing or teaching. No digital connection can replace physical contact with great people. Since 1996 the Foundation's focus on excellence and providing the right environment for creativity through investing in young artists has earned widespread respect. NESTA (The National Endowment for Science, Technology and the Arts) acknowledged the Samling Foundation's Masterclass Programme in Music as exemplary. Foundation for Sport and the Arts The Foundation was set up by the football pools promoters and is funded from the proceeds of a reduction in the pools betting duty. The Foundation seeks, through its funding of sport and the arts, to increase participation in and enjoyment of sport and the arts by the whole community, regardless of levels of competence. It will consider applications for both capital and revenue funding. Jerwood Foundation - www.jerwood.org.uk The Jerwood Foundation is dedicated to imaginative and responsible funding and sponsorship of the arts, education, design and other areas of human endeavour and excellence. The Foundation is a major sponsor of all areas of the performing and visual arts. The Foundation is particularly associated with support for outstanding national institutions while at the same time being prepared to provide seed corn finance at the early stages of an initiative when other grant-making bodies might not be able or willing to act. It rarely supports one-off events or festivals. It is also keen to support young and emerging talent. The Foundation, together with English Heritage, supported development of a new sculpture park at Witley Court near Worcester, which opened in 1999 and features modern newly commissioned sculpture by British artists.

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Esmee Fairburn Foundation - www.esmeefairbairn.org.uk One of the largest independent grant-making foundations in the UK, it supports (among other priorities) Arts provision in under-served geographical areas, and favours proposals which include plans for education or reaching out to new audiences, and new and risktaking work and supporting initiatives which encourage emerging talent, including bursary schemes run by independent national or regional arts development organizations. The Arts programme has two main areas of interest: Serving Audiences and Supporting Artists. It welcome proposals that fit the aims of both of these, particularly proposals that benefit audiences and artists outside Greater London. Serving Audiences To expand high quality performing and visual arts provision in parts of the UK less well served than others. Funding priorities: To achieve this aim we will support proposals which do one or more of the following: sustain and/or create regional touring circuits and/or tour across UK national borders create opportunities for showing new work or second runs involve artform/s which tend to be less well funded reach new audiences. Supporting Artists To support the professional development of talented artists throughout their careers. Funding priorities: Nurture artists at an early stage in their career Help artists to develop new approaches to their artistic practice later in their careers Enable the creation of new work Develop the skills of curators and arts professionals who support the work of artists. Support innovation in terms of artistic practice and delivery Add value such as levering in other funding Have the potential to make a wider impact on policy, or have a significant influence on a particular area of the arts. UnLtd - www.unltd.org.uk UnLtd's Millennium Awards provide practical and financial support to social entrepreneurs in the UK people who have both the ideas and the commitment to develop projects which will benefit their community. UnLtd currently offers two levels of award: Level 1: Awards of between 500 and 5,000 (expected average of 2,000) Level 2: Awards of between 10,000 and 20,000 (expected average of 15,000) Henry Moore Foundation - www.henry-moore-fdn.co.uk 64

Grants are usually restricted to support for undertakings in the following categories: Exhibitions (established galleries only) Conferences, workshops, symposiums Fellowships and bursaries for artists and art historians at appropriate institutions Research grants for post-graduate projects at appropriate institutions Museum and gallery acquisitions of sculpture Conservation work and research Minor capital projects, primarily those designed to provide improved facilities for the exhibition of sculpture Commissions Fund: Grants in the range of 5,000 to 15,000 will be available to assist the commissioning of artists to make new work for permanent or temporary display, indoors or out. Challenge Fund: To encourage institutions, curators and artists to undertake ambitious projects. Commitments will be made early to encourage financial support from other sources. A very small number of grants of up to 50,000 will be awarded each year. Research: Post-Graduate Bursary Fund: Grants of 500 to 1,500 will be available to selected post-graduate students of sculpture, drawing, printmaking and the history of sculpture in institutions of higher education in the UK to fund course-related projects or special research. Publications Fund: This will extend current policy by providing up to 6,000 towards catalogue costs to document exhibitions of contemporary or other art. Support for other publications will continue as at present. Fellowships and residencies for artists: This programme has been revised to provide sixmonth fellowships or residencies of 12,000 for artists in institutions providing appropriate support. The Foyle Foundation - www.foylefoundation.org.uk/ The Foundation includes the arts as one of its priorities, though its grant-giving leans heavily towards performing rather than visual arts. It made grants between 5000 and 75, 000 in 2001-02. The Paul Hamlyn Foundation - www.phf.org.uk The particular arts interests of the Foundation are increasing access through support for initiatives in all parts of the UK which address inequality of access and lack of opportunity to experience and enjoy the arts, particularly for young people. Priority is given to exemplary projects concerned with social inclusion and under achievement amongst young people, including those at risk, and young offenders. There are also Foundation Awards for visual artists, with a strong emphasis on experiment, innovation and cross arts collaboration. Each year twenty nominators put forward names of artists who live or work in the UK and five awards are made by a panel of independent judges. 65

The Joseph Rowntree Foundation & JR Housing Trust - www.jrf.org.uk The Joseph Rowntree Foundation is one of the largest social policy research and development charities in the UK. It spends about 7 million a year on a research and development programme that seeks to better understand the causes of social difficulties and explore ways of better overcoming them. The Foundation does not carry out the research in-house, but works in partnership with a large variety of academic and other institutions to achieve its aims. The Joseph Rowntree Housing Trust - www.jrf.org.uk/housingandcare The foundation also engages in practical housing and care work through its Joseph Rowntree Housing Trust. The Foundation places great emphasis on disseminating the findings of its work and engaging with policy-makers and practitioners to develop better policies and practices. IBM - www.ibm.com IBMs Corporate Community Relations includes arts and culture in its grant programme. By joining with libraries, museums, and other cultural institutions in exciting partnerships that leverage IBM expertise, we also demonstrate the critical role technology plays in enhancing the arts. Projects typically use IBMs technology, know-how and volunteer personnel. Most projects are initiated by IBM itself, but unsolicited applications will be considered. Non-profit organizations or educational institutions can submit unsolicited proposals to IBM. Calouste Gulbenkian Foundation - www.gulbenkian.org.uk The Foundations support for arts is primarily for professional arts organisations or professional artists working in groups. The programme applies to new art in any art form and may be for conventional or unconventional spaces, or made for particular constituencies but excludes activities which take place in mainstream education. Wellcome Trust - http://www.wellcome.ac.uk Collaborations between art and science are a buoyant field of activity. Visual art, music, digital media, film, creative writing and the performing arts provide fresh and exciting ways of interacting with scientific research, intriguing and captivating spectators and engaging a wide range of audiences in scientific issues. Clore Duffield Foundation - www.cloreduffield.org.uk The Foundation concentrates its support on education, the arts, museum and gallery education, art and design education, health, social welfare and disability. A particular emphasis is placed on supporting children, young people and society's more vulnerable individuals. Only registered charities and local authority managed museums and galleries are eligible for funding. The Elephant Trust www.elephanttrust.org.uk For organisations and individuals, for the extension of creative endeavour and initiative, encouraging the experimental, unconventional and imaginative. The Trust was set up to make it possible for artists and those presenting their work to undertake and complete projects when frustrated by lack of funds. It is committed to helping artists and institutions 66

that depart from the routine and signal new, distinct and imaginative sets of possibilities. Normally a 2000 limit on applications. Carnegie Trust - www.carnegieuktrust.org.uk The Carnegie United Kingdom Trust, one of Britains oldest philanthropic foundations, is to re-target its resources to drive the agenda for sustainable change. The Trust is shifting its strategic focus from reactive, short-term grant giving to supporting programmes that will make a real and sustained difference in peoples lives. The Trust will thus replace its grants programmes to the voluntary sector after March 2005 and step up its investment in independent national inquiries, complemented by supporting larger scale action-research designed to influence public policy and deliver longer-term change for the benefit of the people of the UK and Ireland. Lloyds TSB Foundation - www.lloydstsbfoundations.org.uk The Baring Foundation - www.baringfoundation.org.uk The Baring Foundation no longer makes grants available to arts projects. This decision is part of a general reduction in grant-making due to reduced income. However, the Foundation will continue to support arts organisations through its core cost grants and some strategic projects The BURA Charitable Trust - www.bura.org.uk/awards Promotes outstanding examples of community regeneration and advocates the involvement of community organisations as key partners in developing integrated, holistic programmes of regeneration. It operates Best Practice in the Community Regeneration Awards, and Best Practice in Waterways Development and Regeneration Awards. Eligible projects must display the majority of the following criteria: be community inspired, contribute to the raising of community spirit and improve quality of life, be viable and sustainable, be accountable and respond to local stakeholders and have a track record of success. The John Ellerman Foundation - www.ellerman.org.uk Makes grants in social welfare, medical and disability, arts and conservation. In the arts, are interested in performing arts, visual arts, historic buildings and museums. Not open to individuals and local charities. Minimum grants are 10,000. The Rayne Foundation - www.raynefoundation.org.uk The Rayne Foundation offers grants to organisations in the areas of arts, education, and social welfare ranging from 5,000 to 200,000. The Foundation will make grants to organisations with a charitable purpose, which are registered and working in the UK (to include registered charities, companies and universities amongst others), including national or umbrella organisations. NESTA - www.nesta.org.uk NESTA currently runs a number of award programmes, which support everyone from inventors and engineers to filmmakers and musicians. While they share a common aim - to back people of exceptional talent and imagination - they each work differently. To find out

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about the one (or more) that is right for you, please read through the listing below as well as the detailed programme descriptions that follow. MISCELLANEOUS A number of miscellaneous funding sources are included below, but the same conditional rider applies to these as does the Trusts and Foundations. Sources include: Local Heritage Initiative - www.lhi.org.uk The Local Heritage Initiative helps communities bring their local heritage alive. It helps them care for the special features that make each locality as unique as a fingerprint. Grants from a minimum of 3,000 to a maximum of 25,000 are available to community groups in England wishing to develop heritage projects. There is no requirement for your group to provide finance or to have specialist skills. You should however, be prepared to invest time and effort. To qualify for a grant, your project must actively involve the local community. You will need to apply as a group, rather than an individual. Your group can either be an established organisation or be set up specifically for the purpose. LHI sometimes restrict grants in some areas due to being over subscribed. It is essential that applicants contact their regional advisor before applying for a grant. Aggregates Levy Sustainability Fund - www.naturalengland.org.uk/conservation/grantsfunding/alsf.htm Natural Englands ALSF Grant Scheme aims to support projects that reduce the effects of aggregate extraction on local communities and the natural environment. They support projects which involve and deliver benefits for one or more of the following themes: Landscape and Nature Conservation; Access and Informal Recreation; Communities; Education and Understanding; Evidence gathering. The deadline for 2007/8 applications has now passed. Arts & Humanities Research Board - www.ahrb.ac.uk The Arts and Science Research Fellowships are supported by the Arts & Humanities Research Board, Arts Council England and the Scottish Arts Council. The Arts and Science Research Fellowships scheme is designed to provide support of up to 38,000 for up to one year, to support collaborative research specifically between the fields of the creative and performing arts and science and engineering. The closing date for applications in any academic year is around mid February. Arts & Business - www.aandb.org.uk A & B receives strategic support as a regularly funded organisation through Arts Council England, and has recently launched 2 new funding programmes to replace its previous New Partners scheme. Called Reach and Invest, these are funding incentives that act as a smaller open-access funding scheme, and bigger invitation-only strategic investment programme respectively. As a rule of thumb, every 2 invested can bring in a further 1 from A&B subject to approval. A&B supports public art partnerships, and believes that it can: Help create distinctive places

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Improve the physical environment Improve the experience of a place Create community cohesion UNESCO - Aschberg Bursaries for 2007-2008, currently suspended for evaluation of the Programme was launched for the purpose of assessing its effectiveness www.unesco.org/culture/ifpc FURTHER SOURCES OF HELP AND INFORMATION A great deal of information is available online as to potential arts funding. These are all generic funding seach engines and so any funding conditions will need to be sifted through carefully. The search engines are as follows: Association of Arts Fundraisers - www.fundraisers.org A national organisation for all those whose job it is to raise money for the arts. Members who pay an annual membership fee, have access to funding information on the Associations website, and can attend training sessions and meetings on topics such as Neighbourhood Renewal, Environment & Regeneration. Access Funds - www.access-funds.co.uk/ Grants information for the British charitable and non-profit sector. This site is free to any user and aims to provide the latest funding information from Central Government, National Lottery, devolved governing bodies, EU and quangos. FunderFinder - www.funderfinder.org.uk/ FunderFinder distributes software to identify charitable trusts that give money to charities, voluntary and community groups. The software is available on licence for a fee and annual update fee, costs variable according to type of organization. Funding Information - www.fundinginformation.org Fundraising information for charities, voluntary organisations, community groups, local authorities, social enterprises and other not for profit organisations throughout the UK. UK Fundraising - www.fundraising.co.uk/ UK Fundraising News including a free fortnightly e-mailed newsletter. Directory of Social Change - www.trustfunding.org.uk DSC provides information and training for the voluntary sector. Its funding database, available on annual subscription, provides details of 4000 trust funds. Access Funds - http://www.jrf.org.uk/knowledge/findings/housing/d12.asp Information on the latest funding information from Central Government, National Lottery, devolved governing bodies, EU and quangos. Regional Coordination Unit - www.rcu.gov.uk Home Office - www.governmentfunding.org.uk

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The online portal to grants for the voluntary and community sector from the following funders: Cabinet Office Department for Children, Schools and Families Department for Communities and Local Government Department for Environment, Food and Rural Affairs Department for International Development Department of Health Foreign and Commonwealth Office HM Revenue & Customs Home Office Ministry of Defence Ministry of Justice Government Offices for the Regions Grants Online - www.co-financing.co.uk Funding Agents - www.fundingagents.com Funding Agents Sourcebook is used by people and organisations looking for money by way of grants, awards, government and lottery funding in the UK. It is available exclusively from this site. Fit4Funding - www.fit4funding.org.uk The fit4funding website provides help and advice for community groups and voluntary organisations who are seeking funding. Funders Online - www.fundersonline.org Provides a range of funding information including a directory to the site of European foundations and corporate funders. Regeneration & Renewal - www.regen.net/resources/funding/ Information about more than 60 regeneration funding streams. Savage Europe - www.savage-europe.org.uk Designed to provide up-to-date information about European funding, offering impartial and independent advice and technical support for all voluntary and community organisations seeking European Social Fund (ESF) Funding. Government Funding Guide - www.j4b.co.uk Search the j4b UK grants database for government and European funding for small and medium sized businesses. Sponsorship / Corporate Funding Source Book - www.hollis-sponsorship.com The definitive guide to the UKs top sponsoring and donating companies, plus sponsorship opportunities, specialist consultancies and services. Online section has private access subject to subscriptions being paid. Annual yearbook produced.

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