Commissioning and Patronage in a Digital Age
Southbank Centre, London
13 July 2012
Gillian Moore welcomes the delegates.
Susannah Simons chairs Commissioning in an Age of Digital Distribution. Panellists were Matthew Herbert, Daniel Jones and Maija Handover.
Susanna Eastburn in conversation with Vernon Ellis and Theresa Lloyd, The Changing Nature of Patronage and Philanthropy
Commissioning & Collecting Sound and Performance in the Visual Arts with Paul Hoskins, Deana Vanagan, Vincent Honoré and Susie Allen (chair)
Vanessa Reed chairing Mobilising Communities to Fund Commissions . With panellists Gwendolyn Tietze, Henrietta Norton and Ed Harsh (via video link).
Graham McKenzie as chair of the Creative Commissioning session. Panellists were Gillian Moore, Barry Esson and Jan Bang.
And here are some shots of the lovely delegates!
Programme and speakers
Arrival / registration / coffee 10.30 – 11.00
Tea/coffee will be provided
Commissioning in an Age of Digital Distribution 11.00 – 12.00
- Chaired by Susannah Simons, ACE/BBC’s The Space
- Matthew Herbert, Composer and Music Producer
- Maija Handover, sounduk, Sonic Journeys
- Peter Gregson and Daniel Jones, The Listening Machine
New technology, from smart phone apps to online streaming, has opened up new possibilities for artists and promoters alike. This session looks at how digital media is used for wider distribution of new works (through live streaming and online documentation) and at how new technologies can form an integral part of the actual work of art. What are viable models, the impact on audiences and the implications for commissioners?
New Models of Patronage, Part 1 12.15 – 13.15
The Changing Nature of Patronage and Philanthropy
- Chaired by Susanna Eastburn, Arts Council England
- Vernon Ellis, philanthropist and Chairman of the British Council
- Theresa Lloyd, author of Why Rich People Give and Cultural Giving
How is cultural patronage changing? Who are the individuals who commission and support new work? What sort of relationship are they looking for? What motivates them, and what can commissioners do to make it easier to find and work with them?
Please note lunch is not provided within the ticket price.
During lunch hour:
Presentation by Anne Rushton, Executive Director, NMC Recordings, about the Music Map
New Models of Patronage, Part 2 14.00 – 14.45
Commissioning & Collecting Sound and Performance in the Visual Arts
- Paul Hobson, Contemporary Art Society
- Vincent Honoré, David Roberts Art Foundation
- Susie Allen / Deana Vanagan, Artwise Curators
As Tate Modern prepares to open its Tanks as a dedicated site for performance, sound and time-based work, how are collectors and patrons in the visual arts responding to the growth in these arts practices? How does cultural patronage in the visual arts economy operate in contrast with that in the performing arts? As the role of performance documentation becomes more important, are there opportunities for developing new models of patronage?
New Models of Patronage, Part 3 14.45 – 15.30
Mobilising Communities to Fund Commissions
- Chaired by Vanessa Reed, PRS for Music Foundation
- Ed Harsh, New Music USA (via video link)
- Henrietta Norton, wedidthis.com
- Gwendolyn Tietze, Birmingham Contemporary Music Group
As Kickstarter and similar online platforms come of age, what are the lessons for mobilising supporters and fans to contribute to new projects? Are supporters becoming commissioners themselves? How are composers and artists taking their own initiative? How can the commissioning process add value for supporters and audiences – what do they get in return?
Break 15.30 – 16.00
Tea/coffee will be provided
Commissioning as a Creative Process 16.00 – 17.15
- Chaired by Graham McKenzie, Huddersfield Contemporary Music Festival
- Jan Bang, Punkt Festival, Norway
- Barry Esson, Arika
- Gillian Moore, Southbank Centre
Does the commissioner have a creative role to play? How can the creative process add value to new work for both commissioner and composer / artist? Is new work the result of the commissioning process, or can it be the commissioning process itself? What are the risks involved in commissioning and how – or should – they be managed?
2012 speakers included:
Susie Allen is the founding director of Artwise Curators and of the Charity Art Lights London. She also founded and Chairs the ‘Contemporary Circle’ at the Royal Academy of Arts. Prior to setting up Artwise she curated: The British Art Show (Britain in Vienna) for the Contemporary Art Society and conceived several fund raising projects for the National Art Collections Fund (now the Art Fund), The Rothko Memorial Trust Fund, and Glyndebourne Opera House. During the 15 years that she taught at the Royal College of Art, she also curated many exhibitions for the College, most notably; ‘Exhibition Road – Painters from the Royal Collage of Art’ for which she was given the National Art Collections Award for Outstanding Contribution to the Arts; ‘An American Passion’, which was shown at the RCA and at Glasgow Museums; and ‘3 Ways’ for the British Council which toured to 13 venues in five Eastern Bloc countries and 6 venues in South and West Africa. On leaving the RCA Susie established her own international curating business, Artwise. Artwise is now known for its innovative and challenging programme of curating, commissioning and unusual art projects. Clients span; museums, charities, the commercial sector and a number of notable private clients. In recent years Artwise has worked on a number of commissions that include sound and performative elements particularly pertinent to this Symposium including artists: Janet Cardiff; Thomas Koner; The London Sinfonietta, David Lang and Peter Greenaway; Hussein Chalayan, Jenny Walshe; Oswaldo Macia and Julian Opie.
Jan Bang The musical spheres Jan Bang works in revolve around such luminaries as Jon Hassell, David Sylvian, Brian Eno, Sidsel Endresen, Nils Petter Molvaer and Arve Henriksen. From his work as successful pop producer in the 1990s, his creative thrust and pioneering work in developing the concept of live remix- improvising with electronics alongside more conventional instruments and performers – has led today to him being constantly in-demand as producer and performer. In 2005 he launched, together with Erik Honoré, the internationally renowned Punkt Festival where Bang’s live sampling, his own musical instrument, works within the framework of overlapping concerts one being the original, the other the remix. The Punkt brand has already traveled abroad to the UK, Germany and visited Tallinn with great success in spring 2011. Recent live performances and tours have included with Jon Hassell to Sidney Opera House as part of Eno´s own festival and last year playing Carnegie Hall in NYC and Royce Hall, LA. In November 08, as curator of Scene Norway during the opening of King´s Place in London – BBC´s Fiona Talkington invited Punkt for a three day festival as part of the London Jazz Festival.
Susanna Eastburn is Director, Music at Arts Council England and joined the organisation in March 2008. Her previous roles include Artistic Director and Chief Executive of the Huddersfield Contemporary Music Festival, and Executive Producer of LIFT (London International Festival of Theatre). Non-executive roles have included being a Governor of Leeds College of Music, and Chair of the Society for the Promotion of New Music. She was also a fellow of the Clore Leadership Programme in its inaugural year. She is respected internationally for her knowledge of, and passion for, contemporary classical music, and is still a keen amateur viola player. Susanna will be taking up the position of Chief Executive at Sound and Music from September 2012.
Sir Vernon Ellis has been chair of the British Council since March 2010. He was chairman of the English National Opera 2006-12 (now President, succeeding Lord Harewood). He is on boards of several other musical and educational entities. In addition, he supports many arts companies, artists and charities through his Foundation, which also manages around 80 concerts a year at his London home. He also chairs the boards of several private companies. Prior to 2010, he spent all his working life at Accenture in a number of major operational roles, overseeing the firm’s operations in Europe, Middle East, Africa and India, as well as developing them.
Barry Esson is recognised as one of the leading curators of experimental music, film and performance in Europe. Since establishing his first festival (INSTAL) in 2001, he has worked with hundreds of the worlds most exciting, challenging artists, filmmakers, musicians and performers. He is a director of Arika, which produced the 3 highest-profile, most successful events of their kind in the UK: the INSTAL experimental music festival in Glasgow; Kill Your Timid Notion, a festival of sound and image presented with Dundee Contemporary Arts and; Music Lovers’ Field Companion, presented with the Sage Gateshead. Arika also produce regular site-specific touring projects, to great international critical acclaim; most recently, they were invited by the Whitney Museum in New York to curate a week of sound and listening events for their 2012 Biennial.
Born in Edinburgh in 1987, Peter Gregson is a cellist and composer. Recently, he has premiered works by composers including Tod Machover, Daníel Bjarnason, Joby Talbot, Gabriel Prokofiev, Max Richter, Jóhann Jóhannsson, Steve Reich, Martin Suckling, Milton Mermikides, Howard Goodall, John Metcalfe, Scott Walker, and Sally Beamish; he also collaborates with many of the world’s leading technologists, including Microsoft Labs, UnitedVisualArtists, Reactify and the MIT Media Lab. His debut solo album, Terminal, was commissioned by Bowers & Wilkins and launched in April 2010. A limited edition 10′′ vinyl was commissioned by Mute in May 2011, featuring new solo works for Peter written by Max Richter and Jóhann Jóhannsson and was released at the ‘Short Circuit’ Festival at The Roundhouse. In May 2012, Nonclassical released Gabriel Prokofiev’s Cello Multitracks, a cello suite written for Peter. Peter developed and was commissioned to compose The Listening Machine in collaboration with Daniel Jones and Britten Sinfonia for the BBC/Arts Council’s “The Space”, where it runs continuously between May-November 2012. Performance highlights for 2012/13 include The Royal Festival Hall, La Gaite Lyrique, SXSW, Aldeburgh and tours of the United States, as well as conference appearances including ‘Thinking Digital’, ‘Shift Happens’ and ‘FutureEverything’.
Maija Handover is co-Director of sounduk, an organisation that works across contemporary music as a producer, agent and publicist. Created in 2007 from the merger of mhpr with sound, sounduk has recently become part of Arts Council England’s National Portfolio. As a producer, Maija creates and manages projects inside and outside the concert hall. 2012 projects include Kimmo Pohjonen’s Accordion Wrestling with 12 champion wrestlers, Sonic Journey: Adrian Utley (from Portishead) in partnership with the National Trust and a new rural touring network for contemporary music which launches with Terje Isungset’s Ice Music project in November. As a publicist, Maija continues to work with Bill Drummond, Tête à Tête, London Sinfonietta and other one off projects. As an agent she represents a number of the artists on the sounduk roster. Previous roles include Founder and Director of mhpr, and publicist at Global Music Network and Dvora Lewis Public Relations.
Ed Harsh is President and CEO of New Music USA, which was created by the merger of the American Music Center and Meet The Composer. Ed had previously been President and Vice President of MTC since 2005. His background includes fifteen years of professional experience in the arts as program director, development officer, composer, teacher, and writer. Aside from his work with MTC, his principal positions have included the Managing Editor of the Kurt Weill Edition, Director of Development of the Chamber Music Society of Lincoln Center, Associate Director of David Bury & Associates, and Managing Director of Sequitur new music ensemble. As a founding member of the grassroots Common Sense Composers Collective and as an individual composer, he has completed commissioned work for many prominent ensembles, among them the Albany Symphony Orchestra, the Baltimore Symphony Orchestra, New Millennium Ensemble, and American Baroque. He has authored twenty published items, from essays on music to musical editions to recording reviews. His compositions are recorded commercially on the Albany, Santa Fe New Music, CRI, and Neuma labels. Mr. Harsh holds degrees in composition and musicology, including a DMA from Yale University, an MA from Columbia University, and a BM from Peabody Conservatory. He also studied at the Royal Conservatory in the Netherlands. His composition teachers included Louis Andriessen, Martin Bresnick, Jacob Druckman, and Robert Hall Lewis.
Matthew Herbert makes music out of sound. Specific sounds. Simple as that seems, it is a practice that was only possibly as a result of one of the most radical and transformative inventions of the 20th century – that of magnetic tape. Once that was introduced into the field of recording, music could be sourced from the entire sonic world, recontextualised, reshaped. The possibility now existed to make anything out of anything. He has ventured covertly with microphones into the Houses Of Parliament, captured the sound of rolling tanks driving over picnics, abattoirs, commercial chicken farms and arms fairs. One Pig is perhaps Herbert’s most remarkable and challenging sonic foray into the politics of consumption. The album follows the life, death and ultimate fate on a dinner plate of a single animal.
Matthew Herbert is both overall head and A&R man for the not accidentally named Accidental Records, which he founded in 2000. He has scored more than ten feature films, notably Kevin Macdonald/Ridley scott’s 2011 film Life in a Day for which he received a prestigious Ivor Novello nomination, writing for full, 80 piece orchestras in some instances as well as making the soundtrack from sounds sent to him by the public . He has worked in other media too – scoring ballet, fashion shows, tv programmes and theatre – his music has been presented at the National Theatre, the Royal Court, on Broadway and the Almeida. His collaborators have ranged from the playwright Caryl Churchill to purveyor of radical cuisine Heston Blumenthal. Whether performing or Djing, he has played all over the world, including venues as diverse as the Sydney Opera House, Hollywood Bowl, Berghain in Berlin and Trafalger Square. He has remixed over 200 different artists ranging from Quincy Jones to Serge Gainsbourg, REM to long time collaborator Bjork.
Paul Hobson has been the Director of the Contemporary Art Society since 2007. Paul was the Interim Director of The Showroom gallery, London and for five years, the director of a private charitable foundation supporting new work by emerging artists. His previous positions include senior roles at the Serpentine Gallery and Royal Academy of Arts. Paul Hobson read Modern History at Oxford University and he has an MA in Aesthetics & Contemporary Visual Theory and an MA in Arts Management & Policy. In 2007, he co-produced with independent writer and curator Gilane Tawadros the publication, Life Is More Important Than Art, with contributions from Faisal Abdu’Allah, Wendy Anderson, Stuart Brisley, Simon Callery, Stuart Croft, Yara El-Sherbini, Raimi Gbadamosi, Susan Hiller, Gabriel Kuri, David Medalla, Stephen Nelson, Uriel Orlow, João Penalva, Zineb Sedira, John Seth, Yinka Shonibare, Terry Smith, Alia Syed, Anne Tallentire and Simon Tegala. Based on the quotation from James Baldwin `Life is more important than life, that’s why art is important’, the book comprises a series of interviews with artists and investigates the conditions for making and presenting contemporary art from artists’ perspectives, at the beginning of the twenty-first century.
Vincent Honoré is an independent curator and writer based in Paris and London. He was a curator at Palais de Tokyo in Paris (2001-2004) and at Tate Modern in London (2004-2007) where he worked on projects and solo exhibitions with, among others, Carol Bove, Dominique Gonzalez-Foester, Jeff Wall, Hans Haacke, Catherine Sullivan, Pierre Huyghe, Carsten Holler, Roman Ondak, John Baldessari or Louise Bourgeois, and organized group exhibitions and collection displays. Since 2008, he is the Director and Curator of the David Roberts Art Foundation (DRAF) in London. He had defined DRAF from the beginning as a collaborative production unit dedicated to international dialogues and critical experiments, curating group exhibitions or solo presentations (with Jason Dodge, Oscar Tuazon, Nina Beier and Marie Lund, Etienne Chambaud, Keren Cytter, Lydia Gifford, etc), creating programmes of guest curators (Cylena Simonds, Mihnea Mircan, Raimundas Malasauskas, Mathieu Copeland, etc), performances and special talks, opening 7 artists’ studios and monitoring a collection of more than 1800 works. DRAF’s main goal is to be a platform opened to collaborations and exchanges as well as to reflect on the exhibition’s process, aiming to question and challenge the structures of production, presentation and reception of artworks. In 2011, Honoré co-founded Drawing Room Confessions, a contemporary art journal dedicated to one artist per issue, based on conversations and words only. Charles Avery, Jason Dodge, Miriam Cahn, David Lamelas, Benoit Maire and Rosalind Nashashibi are the first artists to participate. He is a frequent contributor to Mousse Magazine and Cura Magazine and had been commissioned a number of texts for catalogues and magazines. He had delivered various independent projects and exhibitions: In May 2011, he co-curated Tableaux, a large-scale exhibition at contemporary art centre Le Magasin in Grenoble with more than 20 international artists. He had been invited as a guest curator to create a season of contemporary art at Kunsthalle Mulhouse, where he is working on a group exhibition with Melvin Motti, Benjamin Seror, Aurelien Froment and Marie Lund, and solo exhibitions with Benoit Maire and Simon Starling. He is currently working on relocating the David Roberts Art Foundation in Mornington Crescent in September 2012, opening the new space with a large scale exhibition.
Daniel Jones is a doctoral researcher at Goldsmiths, University of London, exploring the relationships between complexity, creativity and social dynamics. This manifests itself in both scientific and artistic output: he has published work on music theory, creativity, systems biology and artificial life, and exhibits his digital work internationally, harnessing algorithmic processes to create self-generating artworks. Recent works include The Listening Machine (with Peter Gregson, 2012), a 6-month-long sound work which translates social network dynamics into a piece of orchestral music, recorded with Britten Sinfonia and commissioned by the BBC/Arts Council’s The Space; Variable 4 (with James Bulley, 2011), an outdoor sound installation which transforms live weather conditions into musical patterns; Maelstrom (with James Bulley, 2012), which uses audio material from media-publishing websites as a distributed, virtual orchestra; Horizontal Transmission (2011), a digital simulation of bacterial communication mechanisms; and AtomSwarm (2006—2009), a musical performance system based upon swarm dynamics. Daniel co-ordinated the technical infrastructure for The Fragmented Orchestra, winner of the prestigious PRSF New Music Award 2008. His audio development work for Papa Sangre and The Nightjar was nominated for two BAFTAS, including ‘Audio Achievement’.
Theresa Lloyd is a philanthropy expert and leading consultant in strategic planning, fundraising and governance in the non-profit sector. Following a City career she worked as a senior fundraising director with international development organisations, Save the Children and ActionAid UK, and took a year off to study for a Diploma in Art History. Theresa was the Founder Director of Philanthropy UK (2001-04), wrote the first edition of A Guide to Giving (2003), followed by Why Rich People Give (2004) and Cultural Giving (2006). She is currently working on an update to Why Rich People Give. Theresa has been a member of several boards and committees in the arts sector, and is a Trustee of the European Association for Philanthropy and Giving. www.theresalloyd.co.uk
Graham McKenzie Born 1958 Glasgow, Scotland. Artistic Director & Chief Executive for the Huddersfield Contemporary Music Festival since January 2006. Honorary Research Fellow University of Huddersfield since May 2008. Director of the Centre for Contemporary Arts, Glasgow (CCA) from 1997 – 2006, where he raised £10.2 million pounds. Project Managed and overseen the major capital re-development of the CCA, re-opening the Centre in 2001. Principal Arts Officer for the South East Area Glasgow City Council 1990 – 1997. Former Social Worker and Welfare Rights Officer. – Graham McKenzie is a curator and writer in the field of experimental music, and in particular contemporary and new music, and free improvisation. He is a member of Réseau Varèse – a European Network of major contemporary music festivals – and a member of the European Jazz Network. Programme Advisor to the Glasgow International Jazz Festival. Associate Member of The Centre for Research in New Music (CeReNeM), University of Huddersfield. Co-Founder of Glasgow Improviser’s Orchestra. Founder and Co-Curator of Free RadiCCAl’s (1998 – 2004) with saxophonist/improviser Evan Parker. International Music Advisor to the Music Gallery, Toronto.
Gillian Moore is Head of Classical Music at Southbank Centre, before which she was the Artistic Director of the London Sinfonietta. She is a Fellow and council member of the RCM, a council member of the RPS and an Honorary Associate of the RAM. She was awarded the Sir Charles Groves Award in 1991 for services to British music; an MBE in 1994 for services to music and education, and an Association of British Orchestras Award in 1998. During her career, Gillian has collaborated with many of the great musical and artistic figures of our age, from Luciano Berio to Radiohead, from Harrison Birtwistle to Squarepusher, from Steve Reich to Akram Khan. She has commissioned many significant new works as well as creating opportunities for artists to reach the widest possible audiences with their work.
Henrietta Norton co-founded crowdfunding platform WeDidThis.org.uk in January 2011. Prior to this, Hen worked as a creative producer on a variety of artistic projects that sought to engage diverse and large audiences. Some of these projects have included Antony Gormley’s One&Other, motiroti’s Amaze project, Lumiere, a light festival in Durham, motiroti’s ‘What Counts’ commissions, the initial development of the Streets of Gold exhibition commissioned by the Museum of London, a lift commission for Shoreditch festival and Coney’s ‘A small Town anywhere’ at Battersea Arts Centre. Since WeDidThis’ merger with People Fund It, Hen has turned her attentions to facilitating workshops across the UK partnering with Arts Council England, A-N magazine, BBC and independent artist collectives amongst others, to empower arts practitioners to explore alternative ways of building their own partnerships, develop and deepen audience relationships and build sustainable funding strategies.
Vanessa Reed is Executive Director of the PRS for Music Foundation, the UK’s only specialist funder of new music across all genres. Vanessa leads the strategic development of the Foundation and is responsible for building partnerships, generating resources and creating programmes which enhance and broaden the Foundation’s impact throughout the UK. Recent initiatives instigated by Vanessa include New Music 20×12, a UK wide commissioning programme for the Cultural Olympiad and New Music Plus…, a professional development programme for music producers and arts organisations developed in collaboration with the hub. Before joining PRSF, Vanessa worked as Senior Consultant in cultural policy at ABL Cultural Consulting, as Grants Manager at the European Cultural Foundation (Amsterdam) and as Promotions Manager at the British Music Information Centre. Vanessa was selected as one of fifty “Women to Watch” by the Cultural Leadership Programme in March 2010.
Susannah Simons is Head of Development and Evaluation for The Space, the Arts Council England /BBC digital platform launched in May 2012 and designed to showcase the best of the UK’s arts in the summer of 2012 as well as build digital capacity within the arts sector. She is the Project Executive for the 2012 Cultural Olympiad for the BBC. She was previously the Head of Public Affairs and Outreach BBC Audio and Music. In this capacity she was responsible for policy issues affecting BBC Radio and Music as well as the education and audience development work of all of the BBC’s Performing Groups. A graduate of the Guildhall School of Music and Drama, she began her career as a studio manager in BBC radio before becoming a presenter. She presented the Radio 4 PM programme for ten years, before leaving in 1987 to present Channel 4’s Business Daily. In 1992 she became the presenter of Answering Back on Channel 4 and at the same time became one of the founder members of the team that set up Classic FM. Whilst at Classic FM she presented Masters of their Art, as well as initiating the Music Teacher of the Year competition, Classic FM Families and the Yamaha Classic FM Music School, all initiatives designed to increase and broaden the audience for classical music. She was also Director of Communications of Classic FM’s parent company GWR until December 2002 when she returned to the BBC.
Gwendolyn Tietze heads up development for Birmingham Contemporary Music Group. Celebrating its 25th anniversary season in 2012/13, BCMG is acclaimed internationally for its brilliant performances, ambitious commissions and the quality of its learning programme. Gwendolyn is responsible for the strategic development of BCMG’s fundraising programme and manages relationships with individual donors, charitable trusts, and public funders. She leads on developing Sound Investment, BCMG’s pioneering funding scheme that shares the thrill of the commissioning process – connecting audiences, composers and performers. Before joining BCMG in 2006, she was the first dedicated fundraiser for the Society for the Promotion of New Music (now part of Sound and Music). She has a doctorate in Historical Musicology from King’s College London and continues to research and publish on historiography and the politics of language in writing about music.
Dea Vanagan is Associate Director and Curator at Artwise, a curatorial collective and ideas studio that specialises in devising creative concepts, championing interdisciplinary art, and realising unique commissions, dynamic museum exhibitions, bespoke projects, events, publications, innovative solutions and consultancy, both nationally and internationally. Vanagan’s experience in curating and producing for public and private realms, along with her extensive professional network, has led to commissioning some of today’s top creative minds, including: Peter Blake, Tracey Emin, Zaha Hadid, Idris Khan, Jim Lambie, Susie MacMurray, Nina Saunders, Conrad Shawcross, Studio Roso, Troika, UVA, Rachel Whiteread and Richard Wilson. Most recently Vanagan was Lead Curator for WWF Pandamonium2, the second in a series of art initiatives with WWF-UK to help raise awareness and funds in support of the environmental Charity. This year’s project involved over 20 specially commissioned ‘performative wearable sculptures’ that were showcased in an event in Hyde Park. A publication of the project is due late Aug 2012. Other select projects include commissioning 11 site-specific multimedia artworks for British Airways, Heathrow Terminal 5, and curating the Contemporary Eye exhibition series (including Material Matters, 2010 and Crossovers, 2011) for Pallant House Gallery, which provides an insight into key private collections and the history of the museum through site specific interventions, and commissioning. Previously she was Assistant Curator of Collections at the Contemporary Art Society managing the allocation of over 200 gifts, bequests and purchases of art to 48 UK museum collections.