CLIP/CETL Fellowship Report 2007/8: Maximising the MA Show

This report interrogates the MA show, as it is manifested through the various courses and Colleges of the University of the Arts London. It examines how the MA show is currently perceived by staff, students and audiences and identifies examples of current good practice and suggestions for future practice (particularly in relation to addressing external audiences) that could be disseminated for the benefit both of staff and students at the University and of the broader HE Fine Art community in the UK

New Audiences for the Arts: The New Audiences Programme Report

This 269 page report gives a detailed overview of a £20 million funding programme ‘New Audiences’, designed to foster new practice in audience development by arts organisations in England. It was the culmination of a five-year scheme which supported 1200 audience development initiatives across the country. Glinkowski was one of a team of seven researchers who compiled the report: ACE Research Officers, Clare Fenn, Adrienne Skelton and Alan Joy compiled the statistical information for the report appendices; the main body of the report, from Executive Summary to Conclusions, was written by a team of three consultant researchers, Glinkowski, Pam Pfrommer and Sue Stewart, working under the supervision of the ACE Head of New Audiences, Gill Johnson. The report was a summary, compilation and interpretation of key themes emerging from the material contained within around 1150 evaluations of projects funded by the £20 million ‘New Audiences’ programme during the 5-year period from 1998-2003. The interpretative work and writing up was undertaken collaboratively by the consultant researchers and Glinkowski’s particular input was to the Executive Summary; Introduction; General Audiences; Disability; Social Inclusion; Rural; Older People; General Findings; and Conclusion sections of the report. He was also the principal author (although in keeping with ACE practice on advocacy material, not formally credited) of the ‘New Audiences Advocacy Document’ (ISBN 0728710331), produced in conjunction with the main report with introduction by Tessa Jowell, Secretary of State, Department of Culture, Media and Sport and Peter Hewitt, Chief Executive of Arts Council England. The full report is published online, with a companion volume summarising all projects undertaken within the ‘New Audiences’ programme. Additionally, Glinkowski was commissioned to contribute case studies to the ‘New Audiences’ website (http://www.newaudiences.org.uk/index.php), including 'Open Studios/Artists Presentation Research' (http://www.newaudiences.org.uk/project.php?id=680)

Good Foundations: Trusts & Foundations and the Arts in the United Kingdom

Philanthropic trusts and foundations play an understated yet vital role in funding the visual arts in the United Kingdom. This two-volume publication sheds a new and timely light on this under-scrutinised sector of the arts economy. Volume one looks at the affairs and achievements of a particular independent grant-giving charity. It pieces together a fascinating account of the history and evolution of the Rootstein Hopkins Foundation, whose origins lie in the fashion scene of 1960s London, and it examines in an original and searching way the different outcomes that have resulted from this particular foundation's support for artists and for arts organisations. Volume two, which includes contributions from leading experts in arts funding and philanthropy, provides an overview of the current map of arts funding in the United Kingdom and analyses in great detail the specific contribution made by independent grant-giving trusts. The resulting publication represents a groundbreaking contribution to scholarship in the fields of arts funding and philanthropy. This publication resulted from a project led by Roderick Bugg which investigated the role of philanthropy, trusts and foundations in the context of the wider visual arts economy, and the history and context of the Rootstein Hopkins Foundation in particular. The editorial group commissioned a parallel photographic essay from Phil Sayer to document the work of the Foundation and commissioned additional essays from Marjorie Althorpe Guyton and Tim Llewellyn, Henry Moore Foundation, to extend the scope of the work as a point of reference for the study of philanthropy and the arts. Bugg and Gooding, as chair of the editorial board and associate editor respectively, provide introductions to the two volumes, Bugg additionally wrote the essay on the Rootstein Hopkins Foundation major spend out projects. The research method is distinctive in that it combined both text and image as parallel modes of documentation and analysis to produce an integrated research output accessible to both an academic and wider arts professional and donor communities. During this research Glinkowski, as project researcher, undertook an extensive programme of interviews with a range of charitable organisations, their trustees and their grant recipients in the visual arts, and alongside this developed an in-depth impact assessment and analysis, thought to be the first study of its kind in a UK university. The core of the publication is a report on the findings of a study into the impact on artists and arts institutions of funding received from philanthropic foundations. The publication was prepared with an editorial group at Wimbledon led by Professor Rod Bugg, and including Mel Gooding, Eileen Hogan, Malcolm Quinn, Anita Taylor, Phil Sayer, Angus Hyland, Pentagram and Deidre Hopkins. The book includes the major work completed by Glinkowski, and two additional essays: one maps and analyses the contribution given to the arts in the UK by independent trusts and foundations; the other provides a history and analysis of the Rootstein Hopkins Foundation, as an exemplar of the trusts and foundations sector

National Studios Forum and associated conferences.

Glinkowski was the lead policy officer in the Visual Arts Department at Arts Council England National Office (2001-03) concerned with strategy for artists' studios. In this role, Glinkowski masterminded a series of three National Studios Conferences, and authored and edited an accompanying publication ‘Open Studios: A Gem Worth Polishing’[http://ualresearchonline.arts.ac.uk/1814/] Consequently, Glinkowski was re-engaged by ACE to research and develop a major conference/seminar event to address the following questions: Do artists' studios organisations in England need an agency to represent their collective interests? If so, what form should it take and what steps and resources would be needed to bring it into being? Following a period of extensive consultation with studio groups across England, Glinkowski developed and delivered an event, held at the DCMS office in Central London in May 2005, which brought together representatives of around 60 studio organisations (representing all nine RDA regions of England) to debate and produce an outline action plan to deliver a national artists' studios agency. Glinkowski produced a report of the conference, for internal use by ACE, and also as the foundational document for a new organisation. The outcome of this piece of action research and the event in which it culminated was the formation in 2005 of the National Federation of Artists' Studios Providers (NFASP), 'the professional membership body for groups and organisations providing affordable artists’ studios in England'. The provision of suitable and affordable artists' workspace has been identified by Arts Council England as a priority development need within the overall infrastructure of the visual arts in the UK. The NFASP will be a key strategic organisation in enabling this development to happen

Future Forecast: future space, addressing future roles and functions of artists' workspace.

As lead policy officer in the Visual Arts Department at Arts Council England's national office (2000-03) concerned with strategy for artists' studios, Glinkowski masterminded a series of three National Studios Conferences (www.artscouncil.org.uk/documents/publications/phpf5LAt5.doc) and authored and edited an accompanying publication 'Open Studios: A Gem Worth Polishing' (http://artscouncil.org.uk/publications/publication_detail.php?sid=17&id=196&page=2). In 2004, Glinkowski was engaged by a-n, the Artists Information Company to conduct an extensive programme of research to identify: 1) A series of 12 in-depth case studies illustrating different strategies that studio organisations in the UK have developed in order to achieve their development goals (http://www.a-n.co.uk/research/article/229100. The profiles were compiled following a series of research interviews with the principal people involved in each featured organisation. 2) A publication, 'Future Space', that sought to identify and predict what the workspace needs of practising visual artists might be by 2015. The research for this publication involved the identification and interviewing of 38 individuals with a particular expertise or point of view to contribute on this subject, including practising artists (in a range of media and at different career stages); arts policy makers; studios managers; urban planners; and curators/gallery directors. The survey sample ranged from emerging artists to eminent figures in the contemporary art world (Sir Christopher Frayling, Sandy Nairne). This publication, along with edited transcripts from each of the 38 interview responses can be accessed at http://www.a-n.co.uk/research/article/227438 Made possible through a grant from Arts Council England to a-n specifically for the purpose of developing this research material, the outcomes are freely available on-line to practising professional visual artists and others concerned with the current and future workspace needs of artists, in the UK and internationally. The provision of suitable and affordable artists' workspace has been identified by ACE as a priority development need within the overall infrastructure of the visual arts in the UK