“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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12 things we learned by reading every single National Rail timetable

Some departure boards, yesterday. Image: flickr.com/photos/joshtechfission/ CC-BY-SA

A couple of weeks ago, someone on Twitter asked CityMetric’s editor about the longest possible UK train journey where the stations are all in progressive alphabetical order. Various people made suggestions, but I was intrigued as to what that definitive answer was. Helpfully, National Rail provides a 3,717 page document containing every single timetable in the country, so I got reading!

(Well, actually I let my computer read the raw data in a file provided by ATOC, the Association of Train Operating Companies. Apparently this ‘requires a good level of computer skills’, so I guess I can put that on my CV now.)

Here’s what I learned:

1) The record for stops in progressive alphabetical order within a single journey is: 10

The winner is the weekday 7.42am Arriva Trains Wales service from Bridgend to Aberdare, which stops at the following stations in sequence:

  • Barry, Barry Docks, Cadoxton, Cardiff Central, Cardiff Queen Street, Cathays, Llandaf, Radyr, Taffs Well, Trefforest

The second longest sequence possible – 8 – overlaps with this. It’s the 22:46pm from Cardiff Central to Treherbert, although at present it’s only scheduled to run from 9-12 April, so you’d better book now to avoid the rush. 

  • Cardiff Central, Cardiff Queen Street, Cathays, Llandaf, Radyr, Taffs Well, Trefforest, Trehafod

Not quite sure what you’ll actually be able to do when you get to Trehafod at half eleven. Maybe the Welsh Mining Experience at Rhondda Heritage Park could arrange a special late night event to celebrate.

Just one of the things that you probably won't be able to see in Trehafod. Image: Wikimedia/FruitMonkey.

There are 15 possible runs of 7 stations. They include:

  • Berwick Upon Tweed, Dunbar, Edinburgh, Haymarket, Inverkeithing, Kirkcaldy, Leuchars
  • Bidston, Birkenhead North, Birkenhead Park, Conway Park, Hamilton Square, James Street, Moorfields
  • Bedford, Flitwick, Harlington, Leagrave, Luton, St Albans City, St Pancras International

There is a chance for a bit of CONTROVERSY with the last one, as you could argue that the final station is actually called London St Pancras. But St Pancras International the ATOC data calls it, so if you disagree you should ring them up and shout very loudly about it, I bet they love it when stuff like that happens.

Alphabetical train journeys not exciting enough for you?

2) The longest sequence of stations with alliterative names: 5

There are two ways to do this:

  • Ladywell, Lewisham, London Bridge, London Waterloo (East), London Charing Cross – a sequence which is the end/beginning of a couple of routes in South East London.
  • Mills Hill, Moston, Manchester Victoria, Manchester Oxford Road, Manchester Piccadilly – from the middle of the Leeds-Manchester Airport route.

There are 20 ways to get a sequence of 4, and 117 for a sequence of 3, but there are no train stations in the UK beginning with Z so shut up you at the back there.

3) The longest sequence of stations with names of increasing length: 7

Two of these:

  • York, Leeds, Batley, Dewsbury, Huddersfield, Manchester Victoria, Manchester Oxford Road
  • Lewes, Glynde, Berwick, Polegate, Eastbourne, Hampden Park, Pevensey & Westham

4) The greatest number of stations you can stop at without changing trains: 50

On a veeeeery slow service that calls at every stop between Crewe and Cardiff Central over the course of 6hr20. Faster, albeit less comprehensive, trains are available.

But if you’re looking for a really long journey, that’s got nothing on:

5) The longest journey you can take on a single National Rail service: 13 hours and 58 minutes.

A sleeper service that leaves Inverness at 7.17pm, and arrives at London Euston at 9.15am the next morning. Curiously, the ATOC data appears to claim that it stops at Wembley European Freight Operations Centre, though sadly the National Rail website makes no mention of this once in a lifetime opportunity.

6) The shortest journey you can take on a National Rail service without getting off en route: 2 minutes.

Starting at Wrexham Central, and taking you all the way to Wrexham General, this service is in place for a few days in the last week of March.

7) The shortest complete journey as the crow flies: 0 miles

Because the origin station is the same as the terminating station, i.e. the journey is on a loop.

8) The longest unbroken journey as the crow flies: 505 miles

Taking you all the way from Aberdeen to Penzance – although opportunities to make it have become rarer. The only direct service in the current timetable departs at 8.20am on Saturday 24 March. It stops at 46 stations and takes 13 hours 20 minutes. Thankfully, a trolley service is available.

9) The shortest station names on the network have just 3 letters

Ash, Ayr, Ely, Lee, Lye, Ore, Par, Rye, Wem, and Wye.

There’s also I.B.M., serving an industrial site formerly owned by the tech firm, but the ATOC data includes those full stops so it's not quite as short. Compute that, Deep Blue, you chess twat.

10) The longest station name has 33 letters excluding spaces

Okay, I cheated on this and Googled it – the ATOC data only has space for 26 characters. But for completeness’ sake: it’s Rhoose Cardiff International Airport, with 33 letters.

No, I’m not counting that other, more infamous Welsh one, because it’s listed in the database as Llanfairpwll, which is what it is actually called.

 

This sign is a lie. Image: Cyberinsekt.

11) The highest platform number on the National Rail network is 22

Well, the highest platform number at which anything is currently scheduled to stop at, at least.

12) if yoU gAze lOng into an abYss the abySs alSo gazEs into yOu

Image: author's own.

“For I have seen God face to face, and my life is preserved”, said Thomas.

Ed Jefferson works for the internet and tweets as @edjeff.

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