“Culture for all”: So why is the UK government moving one of the north’s finest collections to London?

'There Will Be No Miracles Here' by Turner Prize nominated artist Nathan Coley is viewed by visitors at Tate Liverpool in 2007. Image: Getty.

I can acutely remember my first visit to Tate Liverpool as a child. My mum, not a natural gallery goer, was looking for somewhere free to take me on a day out.

I knew little of famous artists – but one I had heard of was Andy Warhol, and I was deeply impressed to find that an actual thing made by this famous person was in the same room as me. Later I would realise that it was probably not made by him and indeed that was the point, but still, it left an impression.

It was not until much later, when I eventually found myself working in the arts, that I realised how lucky I’d been. Living in Merseyside after Tate Liverpool opened in 1988, I had relatively easy and free access to art works of international calibre. Not every regional city has a Tate.

I thought back to this when I heard that a big chunk of the National Photography Collection – around 400,000 items, currently held in Bradford at the National Media Museum – was to be merged with the V&A museum's Art Photography Collection and transferred to the V&A’s West London site, thus forming what would be the world’s largest collection of the art of photography

In the longer term, the merged collection will be transferred to a new “International Photography Resource Centre” at an as yet unidentified location – though the V&A’s planned vast new site in East London must be the most likely contender.

Meanwhile, the National Media Museum, a part of the Science Museum Group, will continue to shift its focus to “STEM” – science, technology, engineering and maths – and “concentrate on inspiring future generations of scientists and engineers in the fields of light and sound, as well as demonstrating the cultural impact of these subjects”. The Bradford site may even change its name, possibly to “Science Museum North”.

There is actually a logic in merging parts of the photography collections of the Science Museum Group and the V&A. The fact that the Science Museum holds the National Collection of Photography is largely down to the snobby historical anachronism amongst our national art museums: in the past, photography wasn’t seen as “real art”. 


Cultural powerhouse

There is also a logic to the National Media Museum re-imagining itself. It opened in 1983 as the second National Museum outside London (the first was the National Railway Museum in York in 1975, also part of the Science Museum Group). Since then, though, the Bradford museum has been overtaken by rapid changes in culture and technology.

For most of its history the institution was the National Museum of Photography, Film and Television. But it was renamed the National Media Museum in 2006, to reflect the rise in other forms of communication and image-making, and a new internet themed gallery was instituted.

Yet even these moves have barely kept up with the speed of change. So drawing out some of the more fundamental ideas and principles beneath such technologies, and investing in new galleries around these – a £1.5m light and sound gallery will open next year – is undoubtedly a good idea.

Important questions remain though. Why do such new developments have to be at the expense of celebrating the art that is made by these technologies, which remains for many the most engaging thing about them? Also, if these collections are to be merged – and no doubt quite a great deal of capital will have to be invested in creating an International Photography Resource Centre – why does it have to be situated in London?

Why not move the V&A’s photography collection to Bradford, where land is cheaper, and the cost of living for low-paid culture sector workers easier? Or if not Bradford, why not to Sheffield or Birmingham or Newcastle, which so far lack branches of National Museums? 

The National Media Museum, Bradford. Image: DuPont Circle/Wikimedia Commons.

This move doesn’t seem to fit with the noises coming out of the government and its agencies. Those are all about shifting public cultural investment from London to the regions – something that, in terms of museums at least, began with the opening of the Science Museum’s York and Bradford branches. As culture secretary John Whittingdale recently commented: “I do think there is a danger that too much is spent in London and obviously what we want to do is demonstrate that the UK has fantastic cultural offerings right across the country and not just in London.” 

Of course, the V&A can point to its investment in the vast new V&A Museum of Design in Dundee as its commitment to displaying its collection of some 2.3m objects in the regions. Elsewhere, huge investment is going into the likes of Manchester’s £110m giant new arts complex “The Factory” and a £5m new South Asia gallery at Manchester Museum which will display collections from the British Museum.

At the same time as these developments, though, Bradford’s collections are moving in the opposite direction – and elsewhere, there is even worse going on. The Museum of Lancashire in Preston, the museum of an entire county, is currently threatened with closure. The Museums Association has estimated that 42 UK museums have closed in the last ten years: the vast majority of these since 2010, and in the regions.


Branch lines

Back in the day, Britain’s regional cities didn’t need London museums to open “branches”. Their industrial wealth, and the patronage and tax base that came from it, paid for museums and collections that once in many ways rivalled those held in London.

The Walker Art Gallery in Liverpool, for example, has one of the finest collections of art outside of the capital. Yet its ability to continue to buy new work in the later part of the 20th century was curtailed by industrial decline. The same went for other regional museums across the country – if they could stay open at all – hence the need for branches and partnerships with national collections.

Of course, such partnerships and collaborations should be encouraged. But with such severe local authority cuts, must regional cities merely hope to borrow what London can spare? Meanwhile, with the National Media Museum itself under threat of closure as recently as 2013, can even branches be sure to have a secure future?

The problem is cultural investment in the English regions has been sporadic and inconsistent. Vast new grands projets are happening in some places, while much loved institutions are shuttered elsewhere. Some cities are experiencing a cultural boom; others are approaching cutting it off completely. 

The classic argument for locating the likes of an International Photography Resource Centre in London of course is that more people will visit it. Hard to argue with that, but it’s not hard to achieve either, when a city has a population of over 8.5m and an endless supply of tourists.

Liverpool's Walker Art Gallery. Image: Rept0n1x/Wikimedia Commons.

The counter-argument, from Conservative Bradford councillor Simon Cooke, is that it means more to have significant cultural facilities in the regions. “You could – had you had the guts and vision – have based this new resource centre in the north, in Bradford, where they would have been loved and cherished it in a way you in London can never understand.”

If the state funds culture through the taxation of the entire population and through the Lottery, which has a disproportionate number of players in the regions, then surely arts funding should be distributed in a way that ensures maximum benefit to the entire population? Even whilst accepting that a bigger city will generally always have more culture and thus deserve a fair chunk of funding, shouldn’t public funding look to support places where it is less easy to access and find other sources of funding?

No young person interested in photography or media in London will go short of places to find inspiration. In Yorkshire or elsewhere though, they might. As the only person from a family of engineers who works in the arts, I applaud the fact that the government seems finally to want to reverse decades of decline in this area – and indeed, there are many high-tech companies around Bradford who need a new generation of STEM students to be inspired.

But must only the technically inclined be inspired? Computer games, one of Britain's biggest software sectors, needs artists as well as programmers. Or, is Bradford expected to supply the technicians and London the artists?

What Britain needs is a long-term plan of cultural investment across all of the regions. One that develops and sustains institutions that are geographically accessible to all, provides regular funding that develops and retains talent, and ensures that quality collections are shared across the whole country. Without such a plan, pet projects and grand statements from our leaders about “culture for all” will just be empty gestures. 

Whether this will actually happen remains to be seen – but a good start might be locating the International Photography Resource Centre in Bradford. My gut tells me, though, that East London will likely win the day. Because in the end, London always wins.

Kenn Taylor is a participation manager and writer with a particular interest in culture, community and the urban environment.

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What’s in the government’s new rail strategy?

A train in the snow at Gidea Park station, east London, 2003. Image: Getty.

The UK government has published its new Strategic Vision for Rail, setting out policy on what the rail network should look like and how it is to be managed. 

The most eye-catching part of the announcement concerns plans to add new lines to the network. Citing the Campaign for Better Transport’s Expanding the Railways report, the vision highlights the role that new and reopened rail lines could play in expanding labour markets, supporting housing growth, tackling road congestion and other many other benefits.

Everyone loves a good reopening project and this ‘Beeching in reverse’ was eagerly seized on by the media. Strong, long-standing reopening campaigns like Ashington, Blyth and Tyne, Wisbech and Okehampton were name checked and will hopefully be among the first to benefit from the change in policy. 

We’ve long called for this change and are happy to welcome it. The trouble is, on its own this doesn’t get us very much further forward. The main things that stop even good schemes reaching fruition are still currently in place. Over-reliance on hard-pushed local authorities to shoulder risk in initial project development; lack of central government funding; and the labyrinthine, inflexible and extortionately expensive planning process all still need reform. That may be coming and we will be campaigning for another announcement – the Rail Upgrade Plan – to tackle those problems head-on. 

Reopenings were the most passenger-friendly part of the Vision announcement. But while sepia images of long closed rail lines were filling the news, the more significant element of the Strategic Vision actually concerns franchising reform – and here passenger input continues to be notable mainly by its absence. 

Whatever you think of franchising, it is clear the existing model faces major risks which will be worsened if there is a fall in passenger numbers or a slowdown in the wider economy. Our thought leadership programme recently set out new thinking involving different franchise models operating in different areas of the country.

The East-West Link: one of the proposed reopenings. Image: National Rail.

Positively, it seems we are heading in this direction. In operational terms, Chris Grayling’s long-held ambition for integrated management of tracks and trains became clearer with plans for much closer working between Network Rail and train operators. To a degree, the proof of the pudding will in the eating. Will the new arrangements mean fewer delays and better targeted investment? These things most certainly benefit passengers, but they need to be achieved by giving people a direct input into decisions that their fares increasingly pay for. 

The government also announced a consultation on splitting the Great Western franchise into two smaller and more manageable units, but the biggest test of the new set-up is likely to be with the East Coast franchise. Alongside the announcement of the Strategic Vision came confirmation that the current East Coast franchise is being cut short.

Rumours have been circulating for some time that East Coast was in trouble again after 2009’s contract default. The current franchise will now end in 2020 and be replaced with public-private affair involving Network Rail.


This new management model is an ideal opportunity to give passengers and communities more involvement in the railway. We will be pushing for these groups to be given a direct say in service and investment decisions, and not just through a one-off paper consultation.

Elsewhere in the Strategic Vision, there are warm words and repeated commitments to things that do matter to passenger. Ticketing reform, compensation, a new rail ombudsman, investment in improved disabled access and much else. This is all welcome and important, but is overshadowed by the problems facing franchising.

Stability and efficiency are vital – but so too is a model which offers deeper involvement and influence for passengers. With the building blocks of change now in place, the challenge for both the government and rail industry is to deliver such a vision. 

Andrew Allen is research & consultancy coordinator of the Campaign for Better Transport. This article was originally published on the campaign’s blog.

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