turning point network interim evaluation report · a report considering turning point network as a...

TURNING POINT NETWORK

INTERIM EVALUATION REPORT

OCTOBER 2010

Annabel Jackson Associates LtdThe Priory54 Lyncombe HillBath BA2 4PJSomersetTel: 01225-446614Fax: 01225-446627Email: [email protected]: www.AnnabelJacksonAssociates.com

mailto:[email protected]

http://www.annabeljacksonassociates.com/

T U R N I N G P O I N T N E T W O R K I N T E R I M R E P O R T 2 0 1 0

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CONTENTS

INTRODUCTION .............................................................................................................. 4Background on the programme ....................................................................................................4The evaluation brief ......................................................................................................................4Methodology.................................................................................................................................5Evaluation reports.........................................................................................................................5

HOW HAS TURNING POINT NETWORK OPERATED?.............................................. 7Delegation .....................................................................................................................................7Partnership....................................................................................................................................8Value to relationships ...................................................................................................................9Ownership .....................................................................................................................................9Focus .......................................................................................................................................... 11Strategic approach ..................................................................................................................... 11Joined up thinking ...................................................................................................................... 12Progression................................................................................................................................. 12Quality ........................................................................................................................................ 13Learning...................................................................................................................................... 13Evaluation................................................................................................................................... 14

WHAT ARE THE IMPLICATIONS OF THESE WAYS OF WORKING? ................... 15Introduction ............................................................................................................................... 15Synergies .................................................................................................................................... 15Resilience ................................................................................................................................... 18Value for money......................................................................................................................... 19

WHAT IS LEFT TO DO?................................................................................................. 20Introduction ............................................................................................................................... 20Building relationships................................................................................................................. 20Strengthening inter-regional dialogue ....................................................................................... 22Involving SUN organisations....................................................................................................... 23Coordination............................................................................................................................... 23

CONCLUSIONS AND RECOMMENDATIONS ........................................................... 24Conclusions ................................................................................................................................ 24Recommendations ..................................................................................................................... 25

APPENDIX ONE: SOCIAL NETWORK ANALYSIS ................................................... 26Introduction ............................................................................................................................... 26Before Turning Point Network ................................................................................................... 26After Turning Point Network...................................................................................................... 28Structure of the network............................................................................................................ 30Strengthening and growing the network ................................................................................... 31Abstract version of the network ................................................................................................ 33

APPENDIX TWO: CASE STUDIES............................................................................... 34Visual Arts in Liverpool consortium (VAIL)................................................................................. 34Project ArtWorks........................................................................................................................ 36East Midlands Consultation........................................................................................................ 38Ars Electronica............................................................................................................................ 47



APPENDIX THREE: LOGIC MODELS FOR THE TURNING POINT GROUPS...... 54East ............................................................................................................................................. 54East Midlands ............................................................................................................................. 55Manchester ................................................................................................................................ 57Liverpool..................................................................................................................................... 58North By Northwest ................................................................................................................... 59Northeast ................................................................................................................................... 60Southeast ................................................................................................................................... 62West Midlands ........................................................................................................................... 63Yorkshire and Humberside......................................................................................................... 65

Copyright Annabel Jackson Associates Ltd and Arts Council England. October 2010.Not to be reproduced in part or whole without prior permission



INTRODUCTION

Background on the programme

Turning Point is the name of the visual arts strategy and the structure developed to implementit. The Turning Point strategy was published in 2006 and runs until 2016. The strategy was thefinal outcome of the Visual Arts Review, the largest ever review of its kind, and was written inconsultation with leaders of the visual arts, up and down the country. The strategy sets out waysthe visual arts sector can build on its strength, vibrancy and dynamism to make the best of itsstrong growth since the mid-nineties.

The document identified fragmentation as a key and immediate challenge for the visual arts toovercome. Arts Council England responded to the issue of fragmentation by supporting regionalvisual arts groups to come together to define and deliver a shared vision for growth and change.The groups, and the resulting network, have two elements: work to develop the network itselfand work to deliver collaborative projects. As at August 2010 Turning Point Network had 201people on its regional steering groups and had directly involved 2,500 individuals or artsorganisations in the visual arts sector.

Arts Council England’s intention was that the national network would lead on developing thenext 10-year strategy for the visual arts in England. This implies a move from traditional verticalforms of interaction to reciprocal relationships; a move from direction by individual concerns(local, regional, public, private, discipline specific etc.) towards shared aspirations for the sector,defined by the sector. Respect for a wide range of skills, experience and perspectives (individualartists, curators, technicians, public institutions, commercial galleries, academics, teachers etc.)would be more important than ever before. Establishing the Turning Point Network is, then, thefirst step in sector wide culture change. Culture change is a long term process, usually takingmany years and dependent on leadership, capacity and structures for organisational memory.

The pilot for Turning Point Network is funded from April 2008 until March 2011. Funding is beingused to sustain the operation of the network of groups, and to seed fund group led activity.Some groups have secured additional funding from other sources.

The evaluation brief

The evaluation brief was to formulate and implement an evaluation framework that will allowArts Council England and its partners to:

Identify the objectives of each regional group, and determine appropriate successindicators.

Measure each regional group’s successes against their stated objectives.



Record outcomes and impacts that can be attributed to the attainment of each group’sobjectives.

Trace the genesis of four of the regional groups and draw out developmental narratives (toinclude a summary of what worked well and what didn’t, for each group), so that a clearstory can be told, and best practice can be disseminated post-pilot, and

Determine whether a national Turning Point Network contributes to the realisation ofTurning Point’s vision: to strengthen the visual arts.

Methodology

The methodology consists of:

Conceptualisation using logic models.

Stakeholder surveys.

Meeting reflection forms.

Social Network Analysis.

Event feedback surveys.

Customised project evaluation including questionnaires for training and CPD, internationalvisits, consultation, market development etc.

Facilitation of learning seminars.

Evaluation reports

Annabel Jackson Associates Ltd was appointed to evaluate the Turning Point Networkprogramme in November 2009, with a final report in March 2011.

The evaluator has produced nine reports since her appointment in December 2009:

A report conceptualising resilience and relating it to organisational and group activity inTurning Point Network.

A report considering Turning Point Network as a specific approach to funding.

A progress report bringing together the logic model reports from each region.

A draft case study report.

A Stakeholder survey.

A report suggesting performance indicators for Turning Point.

A report of the survey of Regional Directors.

A survey of SUN organisations.

Analysis of feedback on the national event.



This is an interim report that summarises the different findings from the first nine months of thecontract. It is a snapshot: groups vary in their age and stage of development. For example theSouth West has only recently recruited a coordinator. This early stage inevitably affects theability of steering group members to answer some of the questions in the surveys on which thisreport is based.

As well as summarising previous reports the interim report presents new findings from theSocial Network Analysis. This survey is written up in Appendix One.


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HOW HAS TURNING POINT NETWORK OPERATED?

Delegation

Jackson and Jordan (2006) in their Review of the Presentation of the Contemporary Visual Artsassumed that the Arts Council would take the lead in setting up regional visual arts groups. Theyrecommended that “Arts Council England Regional Offices should convene working parties ofvisual arts organisations, local authorities and regional policy and funding partners to draw upregional development strategies.” What has happened has been more far reaching: Arts CouncilEngland has funded and supported the Turning Point groups but only 10% of steering groupmembers think that it has had the role of leader (stakeholder survey). Steering group membershave recognised and embraced the philosophy of Turning Point Network as empowering andfacilitative.

Figure 1: What are the main roles that Arts Council England has had in the Turning Point Network in your region?(steering group survey)

“The Network has introduced a powerful model of the sectordefining its own way forward and empowering itself, without aneed for complex administrative structures. It has provided theopportunity for arts organisations to take on a wider leadershiprole.”

Stakeholder survey

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Turning Point Network is developing a culture based on reciprocal relationships and sharedaspirations where arts organisations and their partners take the initiative in devising andimplementing regionally sensitive strategies that transcend partisan interests to safeguard thefuture of the sector as a whole. Consistent with this approach of partnership and ownership,regional groups structure their own networks, recruit members, choose and deliver projects.This process has been challenging. Even Turning Point Network group members who accept andare empowered by the principle of delegation ask the Arts Council questions about what theyshould be doing or how they should be working that imply a different reality.

Partnership

The main strengths of the Turning Point Network identified in the stakeholder survey werebringing the sector together and collaboration.

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“I see these groups as crucial to the development of the visual arts sector throughoutEngland to encourage partnership working and aid sustainability of the sector.”

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their best Turning Point Network groups have brought together organisations that have noteviously worked together to share ideas, resources and plans, openly and generously. Theality of partnership has generally been exceptional. There are substantial challenges togotiate to reach this position – in terms of trust, clarity, long term perspective, andnscending of previous organisational rivalries.

e Social Network Analysis survey found that most steering group members rated their groupasonably highly on indicators of partnership (with lower scores coming from new groups).oups are particularly strong on clarity of objectives, commitment, shared values and sharedormation. Steering group members have contributed enormous amounts of time to Turningint Network, with a widespread, but not total, acceptance of the principle of shared ratheran individual benefit. Turning Point Network would not have developed without thentributions of steering group members. The Social Network Analysis survey suggests thatups are weaker on sharing power, coordinating, and addressing conflict. It is unclear if the

ter reflects the lack of conflict or the lack of mechanism to deal with it.

Stakeholder survey



Figure 2: Rating of local Turning Point Network groups on indicators of partnership

Value to relationships

Turning Point Network is relationship based. The Social Network Analysis shows a clear growthin the connections between people before and after the Turning Point Network, with a smallnumber of individuals, and the team at the Arts Council, playing a pivotal role.

All except one of the groups include museums on their steering group as well as contemporaryvisual arts organisations.

The Social Network Analysis found that more than half of steering group members haveintroduced other people to the Turning Point Network (54.8%). 28.4% have introduced people inthe Turning Point Network to other people in the Network they didn’t know.

Ownership

In the Social Network Analysis survey 64.7% of steering group members said they felt ownershipof the Turning Point Network.



Figure 3: Overall do you feel as much ownership as you would like of the Turning Point Network in your region?(Social Network Analysis)

Our case study of East Midlands and Yorkshire and Humberside below shows how Turning PointNetwork has consulted with the sector and helped to build consensus about values andpriorities.

The feedback report from the first national event found that 72.3% thought the event gave agreater feeling of a shared agenda between Arts Council and arts organisations and 97.2% saidthe event showed that there are common concerns across the visual arts sector.

“There was a sense that the sector candrive the agenda in collaboration with ACEand be much more pro-active aboutdeveloping and implementingopportunities and strategies.”

Feedback on first national event



Figure 4: Views on statements made at the event (national event feedback survey)

Focus

The evaluator has worked with each Turning Point Network group to produce a logic modelsummarising the assumptions underlying its work and defining intended outcomes. These logicmodels are reproduced in Appendix Three and show that Turning Point Network is focused on asmall number of activities that will most strengthen each region:

Training and CPD.

Research and development and critical debate.

Joint marketing and audience development.

Joint programming and co-commissioning.

Model projects.

Advocacy and communications.

Regional market development.

Cultural Olympiad (2010 to 2012).

In the Social Network Analysis survey 87.5% of respondents said that the Network has clearlydefined objectives.

Strategic approach

Turning Point Network aligns different resources, financial and non financial, in one direction. Astrategic approach gives clarity and coordination.



68.5% of respondents to the stakeholder survey said that The Turning Point Network wasstrategic. Some people questioned whether it should be strategic, seeing this as a mechanisticand limiting construct.

Figure 5: Overall do you think the Turning Point Network is strategic? (steering group survey)

Joined up thinking

Turning Point Network combines project funding with research, critical debate, capacity buildingand advocacy. Each element is more effective through its relationship with the other elementsof the mix. A holistic approach gives a wider range of choices and more tools in tacklingpotential barriers to progress.

Turning Point Network has combined a recognition of, and valuing of, regional difference, with apowerful linking structure that has helped to produce a coherent programme of activity. Thislinking structure has been partly formed by the important work of the national coordinator, whois shown in the centre of the Network by the Social Network Analysis, and partly by thestructure of coordinator/chair meetings and national events. Our stakeholder survey found areal desire from regional groups to learn from shared experiences with other regional groups.

Progression

Turning Point Network provides a structure that brings together ideas, organisations andprojects so that there is progression over time. There has been progression in relationships fromregional to national and cross regional relationships. There has been progression in ideas froman individual or organisational interest towards a real understanding that Turning Point Networkactivities have to transcend organisational boundaries to provide sectoral benefit. For example,through their participation in the Turning Point Network arts organisations in the East Midlands


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realised that they were each planning events around the Olympics and used the opportunity tocoordinate their programming and delivery in a way that had not happened before. Theexistence of the groups has given a continuity to events that would otherwise have been carriedout in isolation. For example, the Ars Electronica case study below illustrates how Turning PointNetwork generated in a programme of work that built on previous group experiences.

The overall agenda of Turning Point Network has changed over time. Wider issues such asadvocacy, new business models and knowledge sharing have developed more recently. There isalso potential to explore developing the role of visual arts organisations as civic leaders as wellas leaders within the visual arts sector.

Quality

Quality has been enhanced by: integrating advice and training with financial support;collaboration between organisations with complementary skills or resources; placing individualprojects within a strong strategic context; and learning from previous projects.

Our case study of Project Art Works below shows how Turning Point Network has showcased anexemplary approach to work with new audiences, helping partners to strengthen practice andaccess new sources of funding.

Learning

There is clear learning across the Turning Point Network, for example in understanding the valueof working groups. Our last stakeholder survey found that the most common purpose ascribedto the Turning Point Network was knowledge sharing (mentioned by 89.2% of steering groupmembers).

“TPSE’s work over the past twoyears has energised the visual artsnetwork across the region andcreated greater knowledge andunderstanding betweenorganisations.”

Stakeholder survey

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Figure 6: What purposes do you think the Turning Point Network has served in your region so far? (steering groupsurvey)

Evaluation

Learning has been supported by integrating evaluation:

Giving a conceptual structure to learning. For example, the evaluator conceptualised thedevelopment of Turning Point Network using a trade-off model that demonstrated thatregional groups are subject to conflicting pressures: between being relationship based andaction based; between openness in decision making (which would prefer a large group) withthe desire to use people’s time efficiently (which would prefer a small group); betweensensitivity to local needs with the requirement to contribute to the national strategy;between a holistic or a focussed approach to projects.

Providing a structure to collect and share individual learning. The evaluator has facilitatedlearning workshops and carried out surveys of Turning Point Network members specificallyasking about learning.

Recording learning. The evaluator has produced four reports specifically for learningpurposes. These examine progress over time and feed back lessons in real time.

The evaluator is part of the core team, which has monthly progress meetings. The evaluator hasacted as a resource to build evaluative capacity across the network. She has produced anevaluation manual and standard questionnaires for common TPN activities, so as to save groupstime in writing questionnaires and also allow comparison between regions. She has alsoproduced specific questionnaires on requests from the visual arts department or TPN groups forexample to help a TPN group vote for different projects, to allow the sector to comment on theoverall logic model for Turning Point, to survey Regional Directors.



WHAT ARE THE IMPLICATIONS OF THESE WAYS OF WORKING?

Introduction

Turning Point Network exemplifies an increasingly important way of working that deliversstrategic, joined up thinking and progression through partnership. The context in the arts sectoris that this approach requires, or responds to, the current climate of delegation. The approachrequires learning, in part delivered through integrated evaluation, but more than this, it relieson trust, commitment, hard work from steering group members, and a strong desire to work forthe long term benefit of the sector.

Turning Point Network illustrates how partnership can deliver more than coordinated projects,or strategic thinking. It can also provide a structure for creating and exploiting synergies in a waythat increases the resilience across the Network. This gives value for money with the hope ofcontributing to sustainability in the long term.

Synergies

Turning Point Network groups have been strong in distinguishing projects suitable for theNetwork and those unsuitable. Projects selected have had a clear element of collaboration. Thishad not been collaboration for the sake of it, characterised by repetitive meetings, butcollaboration explicitly focused on generating benefits for the sector. These benefits aregenerally in the form of synergies. Reviewing all the projects in Turning Point Network, as part ofthe process of providing support with evaluation and identifying case studies, suggested thefollowing synergies:

Carrying out consultation events and activities to identify regional priorities and buildconsensus in the sector. For example, the East Midlands group carried out a series of sub-regional events to consider and progress ways of strengthening the visual arts sector. Ouranalysis below shows high satisfaction with these events.

Jointly commissioning research as part of capacity building, advocacy and partnershipbuilding. For example the Eastern group commissioned a report from the Contemporary ArtsSociety on Developing the Market for Contemporary Collecting and is in the process ofimplementing its recommendations. The Manchester group commissioned an economicimpact study which is being used to highlight the value and interconnections of the sector.The North by North West group is planning a social and economic impact study. The WestMidlands is carrying out research into new models of residency, new models ofdissemination and ways for artists to earn money.

Organising shared learning events. For example, the Eastern group organised events onaudience development, on market development and on the Arts Council’s strategy.

Organising ideas and skills exchange systems. The Eastern group developed a system aroundwork shadowing, which is called REVOLVE EAST. The North East group is devising a systemthat might learn from LETS (local exchange trading systems).



Developing leadership. The North by North West group is planning a bespoke leadership andprofessional development programme, perhaps through facilitated peer support.

Supporting artists. The North East group is running an event and producing a toolkit ofguidance to facilitate artists working abroad. The South East group has carried outconsultation with artists about their professional development needs and acted as a channelto communicate key messages to the HE sector. Several of the other activities are intendedto make visual arts organisations’ more conscious of the artists’ perspective so thatcommissions and other work are designed to maximise benefit to artists.

Initiating shared critical debate. VAiL commissioned critical writing in the region. The NorthEast group has a whole strand of work around critical dialogue, which includes a seminarwith invited critics/writers, commissioned projects and a two day conference. The SouthEast region is running a series of critical debate events in partnership with the University ofKent.

Organising co-commissions and events. The East Midlands is organising an internationalaudience development and artists in residence programme, Sowing Seeds delivered inpartnership by the 10 Steering Group venues, as well as other key regional organisationssuch as Derby and Lincoln Universities, Phoenix Square, and the Forestry Commission. TheLondon group is considering a collaborative project across the city, such as Nuit Blanche.

Carrying out joint planning and programming. VAIL has carried out joint strategicdevelopment using scenario planning. It has synchronised venue openings with the aim ofhaving clear peaks in activity, which has increased the ability to bring journalists into theregion.

Promoting important ideas. The London group is fostering the work of Julie’s Bicycle intaking a carbon audit of the visual arts industry. The South East region is supporting andbroadcasting Project Art Work’s ground breaking approach to access.

Organising research visits abroad. The South East, Manchester, North East, North by NorthWest and West Midlands groups have all made or are planning visits. These visits build linksacross the sector, foster joint commissioning and help to raise standards in commissioning.For example, the North Eastern group is specifically committed to using the visits to devise astronger model of commissioning that is better linked to collections and more conscious ofthe best way to contribute to artists’ professional and artistic development.

Developing shared marketing systems. The South East region is developing a regionalwebsite that will support collaboration and networking around marketing and audiencedevelopment. The North East group is considering an electronic announcement system. VAiLis producing a map showing visual arts activity in Liverpool.

Sharing resources. For example, Liverpool Biennial shares an IT manager with another VAiLmember.

Joint advocacy. London, NE, NW (three groups), West Midlands and SE are all intending todevelop joint advocacy and there will be links between these different initiatives. The Savethe Arts campaign, which has been signed by 55,000 people, illustrates what can beachieved from pulling the sector together.



The evaluator classified synergies into four types:

Learning synergies: that bring new information into the sector in a systematic and criticalenvironment.

Collaboration synergies: that synchronise systems and approaches for maximum impact.

Capacity building synergies: that share skills and resources.

Integrative synergies: that give more holistic perspectives on activities so allowing greateroverall gain across the sector for little or no additional cost.

Figure 7: Synergies from Turning Point Network

COLLABORATION

JOINT ADVOCACY

JOINT STRATEGIC PLANNING

JOINT MARKETING

CO-COMMISSIONING

JOINT PROGRAMMINGCAPACITY BUILDING

INTEGRATIONLEARNING EVENTS

ARTISTS PERSPECTIVEIDEAS/SKILLS EXCHANGE

AUDIENCE PERSPECTIVECRITICAL DEBATE

WIDER SECTOR PERSPECTIVEPROMOTING IMPORTANT IDEAS

CONSULTATION SHARING RESOURCES

RESEARCH

RESEARCH VISITS

LEARNING

A STRONGERVISUAL

ARTS SECTOR



Resilience

Synergies are important because they increase organisational resilience. Systems Theory givesthree core characteristics of resilience:

Redundancy. This means having slack or overlapping in the system so that damaged orthreatened parts or functions can be substituted by others. Redundancy does not need to bein terms of duplication, it can be through flexibility. Redundancy is a useful concept becauseorganisational problems tend to result in pressure to eliminate slack or ‘waste’.

Requisite variety. The principle of requisite variety states that in order to survive a systemmust be as or more complex than its environment. Complexity refers to heterogeneity ofsub-systems. An organisational with different ways of thinking and ways of working will beable to generate more choices in its problem solving. Requisite variety is a useful conceptbecause research suggests that a common reaction to challenge is for organisations tonarrow their thinking and tighten control, so reducing the number of options.

Creating, retaining or reconfiguring resources. This means being able to adapt to differenttypes and combinations of resources. Resources can be cognitive, emotional, relational,knowledge based, social, technical or financial. Creating or retaining resources is a useful,somewhat contrary concept, because lack of resources is a major stressor. The concept givesa proactive view of resource creation.

Working at the network or sector level, as with Turning Point Network, provides morepossibilities than at the organisational level, and therefore potentially greater resilience.

Figure 8: Processes that build group or sectoral resilience

Redundancy Joint programmingJoint marketingJoint strategic planningJoint advocacyCo-commissioningJoint consultationJoint research

Requisite variety Joint learning eventsIdeas skills exchangeCritical debatePromoting important ideasJoint research visits

Creating or retainingresources

Sharing resources (staff, space, systems etc.)Joint purchasing

In the Social Network Analysis survey 93.3% of respondents said that they plan to continue theirinvolvement with the Turning Point Network in the future.



Figure 9: Do you plan to continue your involvement with the Turning Point Network in the future? (Social NetworkAnalysis)

Value for money

Turning Point Network has generated value for money for the Arts Council because of thecontribution leveraged from steering group members and other partners and the synergies frompartnership.

Our case study of VAIL shows the increased efficiency and effectiveness from organisationsworking together. The partners have:

Strengthened their programming.

Strengthened their strategic planning.

Strengthened their marketing.

Increased their media links and profile.

Strengthened back office functions.

Shared costs.



WHAT IS LEFT TO DO?

Introduction

There is strong support for the Turning Point Network but a clear understanding that it is workin progress: in the survey of Arts Council regional directors six respondents strongly support theidea of TPN, two support it, and one says the idea is not proven yet. In the stakeholder survey92.0% of respondents said they supported the idea of the Turning Point Network with themajority strongly supporting the idea. 8.0% of respondents said that the idea is not proven yet.None said they did not support the idea.

Figure 10: Do you support the idea of the Turning Point Network? (stakeholder survey)

There is a strong concern, especially in the newer groups like the South West, that Turning PointNetwork has not yet reached its potential and needs further support to develop.

In the survey of regional directors seven respondents said that TPN is more relevant in arecession, two that it is equally relevant, with one of these two emphasising that it is importantin any situation.

Building relationships

In the stakeholder survey 69.4% of respondents said that overall their region of the TurningPoint Network is open enough to new participants. The negative responses came from thenewer groups (newer at the time of the survey: SW, WM, Y and London). Generally speaking,groups have started from a core group and gradually involved wider stakeholders as the firstgroup has strengthened. Balancing consolidation and expansion is a dynamic and carefullybalanced process.



Figure 11: Overall, do you think the Turning Point Network in your region is open enough to new participants?(steering group survey)

In the stakeholder survey 36.7% of respondents said that the Turning Point Network had beensuccessful or very successful in building relationships across and beyond the visual arts sector.Respondents were very keen to build these links (as illustrated by the quote below) and saw thisas the next stage, building on the solid foundation formed on most regions.

Figure 12: As well as delivering projects, the Turning Point Network is supposed to build relationships across andbeyond the visual arts sector. How successful do you think it is so far in doing this in your region? (steering groupsurvey)


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Strengthening inter-regional dialogue

In the stakeholder survey 35.3% of respondents said that the Turning Point Network hadincreased their organisation’s contact with other regions. As with the earlier question aboutrelationships, respondents said this was an important priority for the next stage.

Figure 13: Has the Turning Point Network increased your organisation’s contact with other regions? (steering groupsurvey)

“I am keen to see greater alliance between organisations based on focus onaudience needs and on creating opportunities for innovation, regardless offunding mechanisms or governance. There is a compelling need fororganisations to understand these opportunities better.”

Stakeholder survey

“The Network has increased our contact with other regions by having adistinct topic/shared area of concern to discuss with colleagues around thecountry, though interest in other regions' directions and priorities andthrough the national meeting at Baltic.”

“I think phase one is necessarily building a regional community, hopefullyphase 2 will be enlarging this to a national one.”

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Stakeholder survey


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Involving SUN organisations

Our survey of SUN organisations concluded that:

“The SUN and national organisations are extremely important in their contribution to TurningPoint and their potential contribution to the Turning Point Network. SUN organisations haveknowledge, networks and knowledge of networking that can help widen and support theTurning Point Network to reach other constituencies outside the core group of artsorganisations and help to make cross regional, cross art form and cross sectoral links. The keyissue, which is explored in this report, is how to do this in a time effective way for the SUN andnational organisations themselves.”

Coordination

Turning Point Network groups are relatively demanding to organise. The regional coordinatorshave played crucial and complex roles as leaders, facilitators and administrators. These differentroles have not always been easy to balance. Coordinators have helped recruit and enthusesteering group members, worked to make linkages between different working group projectsand organised events as well as keeping minutes of meetings, writing Grants for the artsapplications and other administrative tasks. There have been different models for coordination,for example employees, consultants, or shared posts. Raising funds to support the coordinatorposts should be the first priority to the Turning Point Network groups.

The national coordinator has been essential in seeing making linkages, avoiding duplication,transferring learning from one group to another and offering advice and support. The socialnetwork analysis shows the national coordinator at the heart of Turning Point Network, with themost connections across the Network.

”Actually making decisions that aretruly grass roots and not pushed by ACEnational priorities is tricky. It isn'timpossible, it is just taking time.”

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Stakeholder survey



CONCLUSIONS AND RECOMMENDATIONS

Conclusions

The Turning Point Network has made a strong start during the pilot phase. It has broughttogether people and groups who have not previously shared interests. Most members have putaside their own organisational interests to a greater extent than might have been expected, andin a way that might be considered a model for other art forms. Turning Point Network itself hasdrawn attention to the importance of relationships, and the interdependencies of the visual artsecology. Collaboration has generated synergies which have strengthened individual artsorganisations and their work. The changing environment, in particular the funding cuts, haveincreased rather than decreased the importance of Turning Point Network. Relationships areextremely important in a time of austerity because organisational resilience is likely to be farhigher if arts organisations exploit opportunities (such as resource sharing) across the sector,rather than relying on opportunities within their own organisations. Relationships are alsonecessary to give a strong voice in advocacy. Damage to relationships, either throughrestructuring or jockeying for position, is one of the greatest risks in the age of austerity. TurningPoint Network illustrates how the arts sector, and arts organisations can fill part of the gap leftby the current and future contraction of the Arts Council.

Turning Point Network is at a pilot stage and has more work to reach its potential. The opinionof the evaluator is that:

Turning Point Network has leveraged an enormous amout of time, effort and good will fromacross the visual arts sector. It is vital that this contribution is acknowledged and valued.

Turning Point Network has delivered some exceptional projects and events. An importantexample is the Save the Arts Campaign, which is backed by 100 artists. One output from thisis a video by David Shrigley that communicates key messages about the arts clearly, vividly,and with humour in a way that empowers arts organisations. This is a far more positive stepthan the common complaint heard that the value of the arts can’t be quantified or is relianton establishing a comprehensive set of statistics.

Turning Point Network has supported learning and resource sharing across the sector. Itrepresents a modern version of partnership which will be essential to the future of the arts,and indeed to the non-profit sector in general. Turning Point Network is more, not less,relevant in current financial conditions. Turning Point Network can be presented as centralto the Government’s localisation agenda.

Groups have varied in the extent to which they have reached out across the sector. It isacceptable to have periods of consolidation followed by periods of expansion but thisdynamic takes time. Turning Point Network groups have tended to have a strongrepresentation from RFOs which is understandable given the time involvement required ofsteering group members and the strategic role of RFOs.



Groups have varied in the amount they have achieved during the pilot. Generally speakingworking groups have provided the most efficient structure because they allow focus onspecific subjects, involvement of specialist organisations (including smaller organisations lessinterested in participating in discussions about values and strategy) and easier logistics if theworking groups are smaller than the steering group. The disadvantage of working groups isthe risk of a siloed delivery with potential linkages missed: some structure, whether sharedmeetings or observation by a coordinator, needs to provide an overview.

Groups need to develop stronger skills in judging the value for money of projects submittedto the steering group. While groups have generally been very strong at distinguishingbetween projects suited to Turning Point Network from those serving more individualinterests, they have tended to accept proposals at face value rather than testing the costingsfor different elements. This is understandable given the groups’ priority to relationshipdevelopment but good practice in this area needs to be established and disseminated.

Turning Point Network illustrates an ideal way of using Grants for the Arts money: whereexpenditure is strategic, combines money with relationships, builds on previous activityrather than funding projects in isolation, and prioritises and has the capacity to judge andbuild artistic quality.

Recommendations

Turning Point Network groups should work together to help maintain the momentum of theNetwork over what will inevitably be difficult times. Particularly important is to ensure thatthe newer or smaller groups do not collapse so that the Network loses its national structure.

Turning Point Network groups should consider innovative or flexible ways of maintainingcoordination posts. Coordinators play a central role in keeping the groups together.However, fund raising for core posts is often problematic.

Turning Point Network groups should continue their role in expanding the membership ofsteering groups, in particular ensuring that museums and educational institutions areincluded.

Turning Point Network groups should consider how best to take advantage of the skills,resources of the SUN organisations in a time effective way. Their invitation to the nextnational event is a step in the right direction.

Turning Point Network groups should strengthen their documentation and sharing of goodpractice. An early task would be to strengthen project assessment, including analysis ofvalue for money.



APPENDIX ONE: SOCIAL NETWORK ANALYSIS

Introduction

The essence of Turning Point Network is to reduce fragmentation. This is an intangible outcomethat might be assumed to be difficult to measure. The evaluator employed a statisticaltechnique, Social Network Analysis, to measure the development of the Turning Point Network.Social Network Analysis uses a questionnaire about the extent of connections (sharing ideaswith, collaborating with) between each member of the steering groups of the whole Network tocalculate structural indicators of the Network. The questionnaire also asked about respondents’impressions of the Network (its effectiveness on a range of different dimensions, how clear itswork is to the respondent, ownership of the Network, plans to continue involvement) to see ifimpressions vary with the individual’s centrality in the Network. Steering group members haveresponded very positively to the Social Network Analysis, calling it a ‘love map’ or ‘calibration ofmy diary’. The statistician will give an online version of the results that will allow each individualto see their own position in the Network. One of the strengths of Social Network Analysis is thatthe results are portrayed visually, which is highly appropriate.

We received 103 responses out of 178 steering group members, a 58% response rate, which isgood given the extremely long nature of the questionnaire. All respondents made it to the endof the questionnaire, which is positive, and important.

Social Network Analysis produces a series of images that capture the relationships betweenpeople (dots). The size of the dots shows how many connections that person has. The positionof the dots represents the nature of their connections. People at the centre of the image havestrong connections across the network. People on the edge can have strong connections buthave stronger connections in one part of the network than others. The images follow amathematical procedure that is similar to tying string between people to represent theirrelationships: people who have strong connections stay together; people without strongconnections separate.

The statistician who produced the images has very little knowledge of Turning Point Networkand no knowledge of the personalities involved. The analysis is therefore without bias.

Before Turning Point Network

The first part of the questionnaire asked steering group members who they knew before TurningPoint Network, with the list composed of all steering group members across the Network.Questions were split between sharing of ideas and collaboration, to give some qualitativeanalysis to the depth of relationships.



This image shows the contact before joining Turning Point Network. This shows a relativelywidespread and scattered pattern of communication. The average in-degree (level ofconnections) is relatively high at 11.2, but this is because of a small number of very wellconnected individuals. There is some tendency toward greater connections with those in similargeographic location, but this is not marked. In many cases organisations that were nearby lackedconnections.

Figure 14: Network of those in contact before joining the Turning Point Network

The black dots are people from the national team.

The next image looks at a deeper connection: working together rather than being in contact. Atthis level connections have more of a geographical dimension. There are key individuals forparts of the Network, but no central force. The average in-degree (average number ofconnections) is 7.7. As with the previous figure, this represents the accumulation of many years.



Figure 15: Network of those who worked together before joining the Turning Point Network

After Turning Point Network

The next image shows the connections made as a result of joining the Turning Point Network,excluding the previous relationships. Again, we look at sharing of ideas first. The image is nowmuch clearer. Geographical regions are more clearly identifiable. Some individuals aresignificantly more active than others – shown by relative node size. The national team, from theArts Council, are at the centre of the network. The average in-degree is 4.9. This means thateven over the small period of time covered by the analysis, Turning Point Network is alreadymaking a substantial contribution to the connections across the group.

Regional coordinators have an important role in this image which shows that they arerecognised by the other members of the network as a potential source of ideas, as well as a acoordination point for advice and information on other projects.



Figure 16: Network of those that shared ideas as a result of joining the Turning Point Network

The next level of detail, around collaboration, has a broadly similar pattern. Geographic regionsare increasingly clear, indicating the role the regional events have played. Some individuals areincreasingly important to collaboration. These individuals are the boundary spanners, betweenthe regional clusters. The average in-degree is 2.75, which means that nearly half of allexchanges of ideas result in collaboration.

Figure 17: Network of those that collaborated as a result of the Turning Point Network



Structure of the Network

The next image puts the two stages together, before and after Turning Point Network, to showthe overall pattern of the Network. This shows the clear regional identity of the groupings andthe importance of key individuals. In each case, contact and collaboration between themembers of different regions is lower than those within a region. The regional groups functionsimilar to ‘small worlds’. There is greater communication between regional communities thancollaboration, however, this communication is often still facilitated by a number of particularlyactive individuals rather than connections being evenly spread throughout the network. Oftencontact between regional networks is facilitated by those with greater connections within thenetwork.

Overall the image emphasises the importance of regional groups in facilitating the connectionsbetween participants. It also underlines the increasing involvement of the national team of ArtsCouncil representatives as focal points for the sharing of ideas. They have the potential to act asbridges between the regional ‘small worlds’.

Figure 18: Overview of the network



Figure 19: Cluster image

Figure 20: Regional clusters

The statistician also carried out a clustering analysis toidentify different communities within the network. Theoverall pattern (above) relatively closely match the regionalclusters (right). However, the clustering analysis produces23 distinctive clusters, showing that smaller groups haveformed below the regional level. These smaller groupsrepresent an evolution from the project structure and showparticipants taking ownership of their collaborativenetworks. Relationships are developing beyond the initialgroupings.

Strengthening and growing the network

Increasing the reach of a network by recommending it to others is a strong indicator of the valueplaced on the network by participants. These recommendations demonstrate participants takingownership of the network by making their own connections and expanding into other networks.

Of those responding to the questionnaire, 57 had introduced new individuals to the network.Respondents estimate they have introduced a total of 2780 people to the TP network.



A second indicator of participants taking ownership of the network is strengthening theconnections within the existing network; respondents report doing this less than extending thereach of the network.

Opportunities for strengthening were limited given the observed clustering within geographicregions where most participants already knew each other through TP or had prior contact.



Abstract version of the network

This image highlights the dense core of the Network and numerous small groups around theperiphery.



APPENDIX TWO: CASE STUDIES

Visual Arts in Liverpool consortium (VAIL)

Region North West

Type of synergy illustrated Carrying out joint planning and programming

Timing 2008 onwards

Evaluator’s view on what was special about this work and the added value from Turning PointNetwork

VAIL predates Turning Point and is partly of interest in demonstrating how regional networkscould develop in the future. The partners organise joint press visits, carry out joint publicity,programme exhibitions and critical debate together, have carried out scenario planningtogether, and have individual resource sharing arrangements. VAIL has structured itself toallow different levels of participation. VAIL epitomises the principle that arts organisations arestronger together.

Visual Arts in Liverpool) VAIL was launched in 2007 during the Turner Prize Exhibition at TATELiverpool. The aim of VAIL is to “Place Liverpool as the UK’s leading regional city for visual arts,both in perception and reality”. This is underpinned by three main objectives: to championLiverpool’s visual arts offer to ensure it is known and respected nationally and internationally bykey audience groups for the quality, ambition and scale of a year round offer; to ensure that theLiverpool visual arts sector is a magnet to visitors and to create a number of ‘tools’ which ensurethat visitors have access to clear, concise and useful information to bring together the visual artsoffer in Liverpool in an informed and imaginative way. to ultimately support a growinginfrastructure for the arts within Liverpool, which over time will result in a city that offersdynamic art schools, prolific publishing opportunities, and a strong commercial sector, whileproviding an attractive and viable place for artists to learn, work and visit.

A memorandum of understanding was signed by A Foundation, Bluecoat Arts Centre, FACT,Liverpool Biennial, Metal, National Museums Liverpool, Open Eye and TATE Liverpool. Thestated purpose of VAIL is to “work collaboratively to generate new resources, market cohesivelyand build strong, widely-held positive perceptions of the visual arts in Liverpool.” THE MOUidentified three target groups: the press; professional and peer group audiences, national andInternational and the public sector.

VAIL started with large open meetings, and has progressed to a more structured approach. VAILforum has nine members and is concerned with strategy. The forum meets four times a year,with two meetings open. Below this, VAIL has a steering group, which is concerned withimplementing strategy. Below this, working groups deliver specific projects or activities. Therevised structure was designed to enable smaller organisations, that couldn’t attend a largenumber of events a year, to take part.



VAIL has gradually evolved from publicising each others’ events to joint programming. In March2008 there was a joint event at the opening of the Bluecoat. In June 2008 FACT organized abriefing on the other partners at its exhibition of Pipilotti Rist and organised a joint visit forpartners and journalists to Metal and the Walker Art Gallery. In October 2008 VAIL organised anexhibition timed to follow the Liverpool Biennial. In January 2010 VAIL organised a Black Atlanticseason, with different partners reworking their programming to have a shared theme andcritical debate. Partners include the Bluecoat, FACT, International Slavery Museum, KuumbaImani Millennium Centre, Liverpool Philharmonic Hall, Metal, Tate Liverpool, Walker Art Gallery,and the University of Liverpool. Paul Smith from Liverpool Biennial explains: “In 2007 we allreally struggled to get journalists to Liverpool. After 2008 it was much easier. Everyone is clearthat we can be more effective working together.” VAIL has been able to obtain funding for presstrips, with shuttle bus and complementary train tickets for journalists.

In 2010 VAIL members carried scenario planning together. It held two sessions, each attendedby three quarters of the members, to consider the pattern of future environmental influencesand pressures. Four scenarios were developed: The New Renaissance, Arts Ascendant; The NewRationale, The Arts Transformed; Breaking up, the Arts Fragmented; and Doomsday, the ArtsDecimated. Carrying out scenario planning together strengthened the process because of thewider range of experiences and knowledge input, as well as giving a common framework forlooking at strategy. The process was facilitated by Business in the Arts without a charge. Thescenario around The Arts Transformed emphasised the centrality of VAIL and its model ofpartnership. Its vision is that: “VAIL is recognised as capturing the zeitgeist of the times. Thefocus is redirected onto generating and offering more creative approaches to demonstratingvalue for money, to satisfy the demands for return on investment in relation to funding andarrest further reductions in support. Art organisations respond and become moreentrepreneurial in their quest to increase revenue.”

The relationships through VAIL have opened the way to further resource sharing. For example,Liverpool Biennial and the Bluecoat Gallery were both having problems with their IT support:they were using outside consultancies who were not specialists in the arts. Together the twohave clubbed together and employed an IT officer, who works part of the week in LiverpoolBiennial and part of the week at the Bluecoat. Paul explains that: “For the same price we getmiles better service; someone who everyone knows and trusts, someone on-site on a regularbasis.” Paul tried to find a standard memorandum of understanding for service sharing butthere didn’t seem to be one. The memorandum of understanding has been carefully drafted, itincludes reporting, appraisal, apportionment of fees, prioritisation of urgent work etc. Someaspects of the service have been simpler just because of the partnership. For example the twoorganisations have offsite back up (back ups are held at the partner).

VAIL is in the process of creating a shared stakeholder map: thinking together about who theorganisations know and is particularly influential in the current environment. Paul commentsthat: “Having VAIL prompts us to do things that we might want to do.”

An evaluation of VAIL by Tom Fleming in 2009 concluded that: “much that is positive andprogressive has been achieved for a relatively small amount of cash and rather larger in-kindinvestments.”



Project ArtWorks

Region South East

Type of synergy illustrated Promoting important ideas

Timing April 2009 to November 2011


Turning Point Network has provided a cost and time effective way of developing the work ofan exemplary organisation for the benefit of the wider visual arts sector: facilitating specificpartnerships with RFOs, disseminating lessons about good practice and building theinfrastructure through training and experiential work. Project Art Works’ approach isimportant because it challenges assumptions about engagement and access, while alsoproviding a practical way forward.

Project Art Works led on a programme of inclusive collaboration and partnership projects aspart of TPSE’s Action Research and Critical Debate strand. Project Art Works is an artist ledcharitable company based in Hastings, East Sussex. Since its foundation in 1997 the organisationhas developed ground breaking visual arts projects for individuals with profound neurologicalimpairments. Project Art Works’ approach challenges basic assumptions about engagement anddeconstructs the language of inclusion. People with complex neurological impairments mightnot be able to consent to participation, which raises ethical issues. Participation might be acollaborative rather than individual, which raises practical issues of ownership. The benefits arepotentially enormous. Engagement with the visual arts gives participants a way of experiencingchoice and a medium to communicate their preferences and their perception of life. This is verydifferent from the context in support services where decisions are often made for them.

The project was explicitly designed to provide a deep understanding of Project Art Works’approach. The organisation believes that research and development need to be experientialrather than discursive since its style of engagement is partly a way of being.

There are five elements to the project:

April to June 2009. Individual conversations with three arts organisations, Aspex, TurnerContemporary and Modern Art Oxford, about inclusion in mainstream programmes: how artwith disabled people can be included in mainstream programming, linked to rather thanseparate from contemporary art practice, with a strong commitment to artistic excellence;how patterns of support both enable and prevent people with complex and/or high supportneeds engaging with cultural experiences.

September to October 2009. Collaborative process-led workshops. Project Art Works ledthree workshops with partners and people who have severe neurological impairment. Theworkshops enabled participants to make work, while also demonstrating how artists andsupport workers are acutely aware of non-verbal signs and behaviours that signal levels ofassent and dissent during collaborative actions. Two of the partners sent staff from theireducation departments, which showed the way engagement is compartmentalised within


37 | P A G E

visual arts organisations. Project Art Work’s interest in mainstream programming resists thiscompartmentalisation.

July to November 2010. Non verbal seminars with partners, participants and artistsintroducing participants to communicating without language and being open to differentcognitive stages. Seminars include conversations on the terms of participants that evolvearound responses to different art, media and sensory stimuli.

August 2010 to November 2011. A 15 month project with Milton Keynes Gallery that willdevelop a collaborative methodology for involving people with neurological impairment inmainstream curatorial programming. The work will reference the urban grid of MiltonKeynes, its built space, perception and visibility, and will be documented through sound,film, drawings, mappings, observational notation and writing.

Autumn 2011. A region wide seminar for visual arts participants, curators, educators andartists on ethnical, professional and practical issues raised by the project and interest infuture collaboration.

Kate Adams, Directhe organisation u

A kind of valida

A higher profil

An opportunity

An opportunity

Responsive collaboration facilitates intensive interactionand personalized integration for people who experienceextreme marginalisation.” Kate Adams

“The experience of Project Art Works to date has madeus acutely aware of how many barriers there arebetween us and potential audiences/collaborators withcomplex needs.” Amy Smith, Aspex

“Some of the encounters we have with people inextreme states have to evolve very precisely at the paceof the individual and it is in this exchange thatconnection takes place.” Kate Adams

“If you start at the extreme end, with people who havesevere neurological impairments, you will open up accessfor everyone.” Kate Adams

A N N A B E L J A C K S O N A S S O C I A T E S L T D

tor of Project Art Works, emphasises the Turning Point Networks has givennique opportunities:

tion.

e.

to have conversations with directors of important mainstream galleries.

to articulate their work to people who are interested.



An opportunity to increase the number of artists who are interested in this work and see itas art not disability art.

To opportunity to address misconceptions about complex neurological impairment.

An opportunity to disseminate the organisation’s work to the whole visual arts sector “inone hit”.

RFOs have gained:

An opportunity to reflect critically about the nature of access and engagement in the visualarts.

An opportunity to develop skills, knowledge and work around accessibility in its broadestsense.

Links to artists with interests in, and/or experience of working with people who have severeneurological impairments.

An opportunity to develop new areas of work, and potentially access new sources of fundingoutside the arts sector.

Project Art Works is a small organisation that has been highly successful in gaining non artsfunding, for example through the development agency, NESTA, charitable and local authorityfunding. Strengthening its links with the RFOs provides new areas of organisationaldevelopment, but more importantly, chances for visual arts organisations to develop theirthinking, practice, and funding prospects.

East Midlands Consultation

Region East Midlands (emVAN)

Type of synergy illustrated Carrying out consultation events and activitiesto identify regional priorities and buildconsensus in the sector

Timing March to May 2010

Description The consultation had two stages: a launchevent at QUAD Derby on 29th March 2010,attended by 80 people; and six meetings, onein each of the region’s six counties, attendedby 117 people overall. Each sub-regionalmeeting was hosted by an emVAN steeringgroup member, except for in Rutland, wherethe event was hosted by Catmose Gallery. Theevents discussed priorities for the region andparticipation in the enVAN steering group.


Results from the feedback forms show that emVAN managed to reach more widely into the



sector during the later sub-regional events. For example, 42.4% of respondents were non ACEfunded visual arts organisations compared to 16.3% for the launch. It did this while stillbringing the constituency with it. Respondents understood the purposes of the sessions, todevelop strategy for the sector and form a regional network, and supported its values.

Consultation through Turning Point Network is special because it is not led by the Arts Council,yet still has a sector wide focus and strategic approach. The emVAN steering group isgenuinely taking the lead in strengthening the sector and being seen to do so.

The East Midlands TPN group appointed a consultant to help with the consultation. Theconsultant facilitated seven meetings: a regional meeting and six sub-regional meetings. Thelaunch meeting included a panel discussion on strengthening the visual arts in the regionfollowed by discussions one “What is the visual arts in the region doing well? What works well?”“What could we do together?”. The sub-regional groups discussed the provisional findings fromthe launch meeting, and offered networking or socialising opportunities or informative talks.

March 2010

Some 80 people attended the first consultation event on 29th March at the QUAD in Derby. 44people completed feedback forms, which is a reasonable response rate. Responses were verygood: people generally answered each question.

Nearly half attendees found out about the event through a steering group member, whichshows the value of having the steering group as a structure to reach out to a wider constituency.Respondents also found out through other contacts, the Arts Council, colleagues or otherorganisations.

Figure 21: How did you find out about today’s event?



Respondents were fairly evenly split between those that had not heard of emVAN before, thosethat had heard but did not know what it did, and those who had heard about it and did knowwhat it did.

Figure 22: How much did you know about emVAN before you came to this event?

Respondents were mainly expecting to find out more about emVAN, although networking andstrategic planning were also considered by the majority of participants.

Figure 23: What were your expectations about attending the event?

83.7% of respondents said that event met most, all or exceeded their expectations. This is apositive response that also gives scope for growth in future events.



Figure 24: Did the event meet your expectations?

The feedback form from the event asked for views on the assumptions that emVAN put in itslogic model as a way of engaging views on values as well as priorities. The majority ofrespondents supported the logic model assumptions. More than half strongly agreed that thevisual arts can learn from other sectors and that there is scope for audiences to grow in the EastMidlands. More than half agreed that colaborative working is preferable to silo working and thevisual arts needs to agree common messages and communicate them consistently. This resulthelps to give emVAN a mandate for its work.



Figure 25: Views on Turning Point assumptions

42 people gave their contact information to be kept up to date, which shows sustained interest.41 said they would be interested in attending a county event.

Respondents were asked which sector they came from. The response shows a good attendancefrom artists, and a reasonable presence from museums and heritage, higher education, curators,local authorities and non ACE funded visual arts organisations.



Figure 26: Sector

May 2010

The results suggest that communication is spreading outwards: with more referrals throughcolleagues and other organisations rather than through the Arts Council or steering groupmembers.

Figure 27: How did you find out about today’s event?

Knowledge about emVAN was similar to the launch event, with a split between those who hadnot heard of the network before, those who had heard of it but were not sure what it did andthose who hard heard of it and did know what it did.



Figure 28: How much did you know about emVAN before you came to this event?

The vast majority of participants were attending to hear about emVAN. Making new contactsand helping to define strategic priorities for the region were also understood as reasons for theevents.

Figure 29: What were your expectations about attending the event?

What were your expectations about attending the event?



79.7% of respondents said that events met most, all or exceeded their expectations. This isslightly lower than for the launch event, but still positive. The percentage of respondents whosaid the events exceeded their expectations was higher than for the launch.

Figure 30: Did the event meet your expectations?



Figure 31: Views on Turning Point assumptions

Roughly half respondents strongly agreed that the visual arts can learn from other sectors andthat there is scope for audiences to grow in the East Midlands, as for the launch event. Morethan half agreed that colaborative working is preferable to silo working and the visual arts needsto agree common messages and communicate them consistently.



Figure 32: Sector

The local events broadened participation considerably. In particular, it reached non ACE fundedvisual arts organisations: 42.4% compared to 16.3% for the launch.

Ars Electronica

Region South East

Type of synergy illustrated Organising research visits abroad

Timing September 2010


Joint international visits provide a purposeful way of strengthening relationships and helpingto develop a shared agenda across the region. The feedback from the international visit wasexceptionally positive and its impact is likely to be strengthened by its shared nature. Thespecific visit chosen reflected the strategic concerns of the group.

TPSE sent 15 people to Ars Electronica. The trip was organised as part of the group’s "Go andSee" strand of activity, following a visit to Istanbul Biennial in 2009. Ars Electronica was selectedas the second visit because of its potential contribution to the Digital and New Media strategy.The aim of the trip was to raise awareness of digital arts practice amongst regional curators andto encourage more programming and critical engagement with the medium. TPSE’s workinggroup will continue the dialogue from the visit about how best to support digital artsprogramming in the future.

Now in its 31st year, Ars Electronica is the largest international festival for electronic art. Itcomprises conferences, exhibitions, performances and large-scale outdoor events. This year'sprogramme was particularly substantial, comprising 8 conferences, many exhibitions, andnightly performances and club nights. The festival attracted over 90,000 visitors and is the most


48 | P A G E A N

successful festival in the world in terms of attendance. The visit provided an opportunity forSouth East based visual arts curators to experience digital artworks first hand and to meet withartists and curators from the digital art field, encouraging greater exhibit.

Attendees were:

Jo Bushnall : Director, Aspex GalleryBridget Cusack : Curator and Exhibitions Organiser, Millais GalleryJo Cowan; Acting Director, Quay ArtsSarah Broome : Artists and Project Manager, Project ArtworksHonor Harger: Director, LighthouseLaurence Hill : Development manager, FabricaLiz Whitehead : co-Director , FabricaChristine Kapteijn : Galleries Manager, James Hockey Gallery, UCAAngela Kingston ; Development Manager and curator, ArtpointJack Lewis: Digital Development Manager, ArtSwaySarah Martin, Head of Exhibitions, Turner ContemporarySanna Moore, Exhibitions curator, Towner GalleryJulianne Pearce, Executive Producer, Blast TheorySimon Wright, Gallery Coordinator, Milton Keynes GalleryVerity Slater , TPSE

TPSE supported the attendance of one person per organisation, offering each organisation £550to support the costs of the trip. The delegation was organised and led by Lighthouse and BlastTheory, who organised a number of meetings for the group at during the festival. Theseincluded Gerfried Stocker (Austria) director of Ars Electronica, Amanda McDonald Crowley(USA), director of Eyebeam in New York and Jose Luis de Vicente (Spain) - freelance curator andmember of the Prix Ars Electronica Jury.

Eleven of the 15 respondents completed a feedback questionnaire about the visit, an excellentresponse rate.

Participants included two non RFOs, two artists and higher educational establishment. Threeparticipants had attended Turning Point Network’s previous international visit.

“Several of the artworks were absolutelyoutstanding -- unforgettable.”

“The overall concept and themes of the festivalwere quite overwhelming.”

“The dynamic of the group and the structure ofthe visit allowed us to regroup, arrangedintroductions to key people gave context, thisstructure again greatly increased my capacityto absorb more of the event.”

N A B E L J A C K S O N A S S O C I A T E S L T D



Figure 33: Sector

Feedback on the visit was exceptionally positive. All 11 respondents thought the visit wasenjoyable, inspiring, well conceived, a good use of their time, well organised, well structuredand relevant to them.

Figure 34: The visit process

All respondents made useful contacts during the visit.


50 | P A G E A N

Figure 35: Did you make any useful contacts during the visit?

All respondents are likely to keep in contact with people they met on the visit.

Figure 36: How likely are you to keep in contact with people you met on the visit?

Ten of the eleven respondents are likely to work in partnership with other people they met onthe visit.

“It was an inspiring, well organised trip. I can'tthink of any additions that would've made itany more stimulating or enjoyable.”

N A B E L J A C K S O N A S S O C I A T E S L T D



Figure 37: How likely are you to work in partnership with people you met on the visit?

Five respondents are likely to commission or employ an artist they met on the visit.

Figure 38: How likely are you to commission or employ an artist you met on the visit?

Eight of the 11 respondents said that the visit was very important in informing theirunderstanding of media and digital art presentation. All respondent mentioned ways in whichthe visit would affect their future work, in particular:

Learning. “I have a much better understanding of new media and will be much more likely toconsider working with new media artists in future.”

Collaboration. “I certainly plan to work with the contacts established and have follow updates already booked in, both for organisational knowledge sharing and for a potential



partnership project. Longer term the experience will feed into a planned funding bid for adigital arts education project. Personally it has changed my perception of the possibilities fordigital arts making me more open to (and less frightened of!) potential projects.” “I believethe trip will have a very positive impact on our organisation, both in terms of strengtheningour networks and partnerships and introducing new ideas to our work. I am going to explorethe uses of social media to communicate our work with support from a fellow TPSE delegatein October. I am also going to meet up with two of the other organisations attending the tripto discuss how we engage with project participants.” “We're thinking of scoping acollaboration with one of the festival artists to help us engage in new technology to tracethe non-verbal interactions taking place in our workshops.”

Profile. “The trip not only raised our profile within the international digital art world, butalso significantly bolstered our standing within the visual arts sector in the region. This willbe critical as we seek partnerships for exhibitions and events in coming years. As always ArsElectonica is a great place to do business, and we left with several partnership possibilitiesfor major programmes within the next two years.”

Specific projects. “The visit has inspired us to follow through our plans to establish amultimedia laboratory and social enterprise.”

Figure 39: How important was the event in informing your understanding of media art and digital art presentation?

Eight respondents said that visits like this are more relevant in a recession because of:

Partnership. “It's imperative during a recession (though equally at other times) that artsorganisations work to support each other and continue to look outwards. Trips like thisfoster that sense of network because face to face encounters are more powerful ingenerating the idea of a network than just applying a theory.” “I got a real sense throughoutthe festival that sharing skills and knowledge was of great importance at this time. In orderto survive in the current climate, and to create work and projects that stay relevant,sustainable and dynamic, having a network of people to connect and share resources withseems vital. The conversations generated through the trip were key to keeping this sense of



connectedness active.” “It highlights partnerships and collaborative opportunities that cansave financial resources.”

Innovation. “Money for visits is the first to be cut from the budget but visits areparadoxically also the most useful way of getting new ideas and inspiration and contactsthat allow you to move forward in more difficult times.” “They stimulate alternativeeconomic models.”

Figure 40: Are visits like this more or less relevant in a recession?

All respondents said that the visit surpassed their expectations. The only possible improvementsmentioned were to have had a longer visit.

Figure 41: Did the visit meet your expectations?



APPENDIX THREE: LOGIC MODELS FOR THE TURNING POINT GROUPS

We have yet to complete the logic models for London and South West.

East

ACTIVITIES OUTPUTS SHORT TERMOUTCOMES

LONGER TERMOUTCOMES

IMPACT

CPD: the eventsprogramme and training

Skills exchange: REVOLVEEAST

Exhibition and publicprogramme

New partnerships andfunders beyond thesector

Consultation with currentfunders and stakeholdersto see what wouldmotivate them tocontinue to fund thesector and what evidencethey need

Collective marketing,publicity and advocacy toaudiences, and potentialaudiences, funders,politicians, artists, nonarts organisations,collectors etc.

Building a package forcollectors

Creating newopportunities for artiststo sell work

Number ofevents

Number andprofile ofparticipants atevents

Number ofvisitors toexhibitions

Media coverage

Depth andbreadth ofcollaborations

Artists haveopportunities tocreate and show,develop dialoguewith theiraudiences, giveinsight into newmodels ofsurvival/working

Arts organisationsdevelop and adoptsustainablebusiness models

The visual artssectors keepscreating meaningfuland strategicrelationships withartists, other artsorganisations, nonarts organisations,funders, collectorsand audiences

Audiences enjoyparticipating andare challenged, areempowered to becritical, explore newways of thinking,increase theirattendance, andfeel that they are

Artists haveviable incomestreams frompractice, havemeans to selltheir work, andhave greaterinfluence onthe sector andsociety

Artsorganisationssurvive whilestaying onmission

The visual artsecology isstrongerthroughworkingtogether

Audiencesvalue and areadvocates forthe visual arts

A strong andsustainable visualarts sector:

Greater visibilityand influence

Increasedcapacity

More strategicapproach



developing a longterm relationshipwith the visual arts

Assumptions:

Our role is to support artists: we need them, and they want us.

That the ecology can and should support artists at different stages in their career.

That there is an urgency about finding ways to support artists and arts organisations to survive and makework.

That high quality arts inspire audiences and participants: building meaningful relationships between artistsand audience members.

That you don’t need to go to London to get high quality art.

That audience development is vital to demonstrating our relevance.

That we need information on our audiences to build meaningful relationships.

That there is an untapped market for collecting work from artists from this region.

That collecting is a way to build audiences and develop patrons.

That since the region doesn’t have many visual arts organisations it is even more important to worktogether closely.

That the lack of venues means that the region needs to create an infrastructure beyond its venue base.

That collections represent ideas and a resource that need to be carried into the future.

That it is not enough to provide artists with a source of income, in addition, their work needs to bepreserved and shown.

That the remote geography of the region gives us a unique perspective and challenges in terms ofovercoming expectations of being parochial.

That the contemporary arts are international and the regional sector must reflect that internationalism:internationalism raises aspirations and provides valuable connections to develop artists’/otherprofessionals’careers.

That artists are a vital source of new ideas and new ways of working.

That Escalator provides a complementary and supportive programme.

East Midlands


LONGER TERMOUTCOMES

IMPACT

Branddevelopment

Consultation with

Website

Breadth and depth of

Relationshipdevelopment e.g.legitimacy, trust

Change in thesector towards anaturally


Increased



and mapping of thesector

CPD events

Conferences

Cultural OlympiadProject: regionwide internationalartist residency andcommissioningprogramme: ThreeCities Plus+

Presence at Venice2011

network

Number of schools,universities, galleries,and museums takingpart in projects

Number and profile ofparticipants

Number of artistresidencies andcommissions

and support

Partnershipacross a diversityof organisationalsizes, structuresand types

Sharing skills andresources e.g. onaudiencedevelopment,learningpathways

Finding anddeveloping newways to presentvisual arts

A joined up offerto the publicacross the region

Engaging newdiverse audiences

Professionaldevelopment ofartists andworkforce

Increasedconfidence inengaging withdigital media

Increaseddiversity of theworkforce

Collection andcollectorsdevelopment

collaborativeculture

Higher ambitionsand horizons inthe sector

Increase inengagement andreach ofaudiences

Greaterconnectionbetweencontemporarypractice andcollections

Strongerprofessionalcapability in thesector

Higher profile ofEM visual artswithin the UK

Stronger voicefor EM

capacity


Greater civicleadership in andfor the visual arts

Greater publicsupport for thevisual arts

Assumptions:

That support from the steering group will continue at senior level.

That people and organisations will sign up to the network.

That resource constraints will not hinder activity.



That there is sufficient leadership capacity within the region.

That people believe that collaborative working is preferable to silo working.

That there are lots of silos: within the visual arts, with other art forms, and with other sectors.

That the visual arts can learn from other sectors.

That the TP network is sustainable beyond Turning Point.

That the visual arts needs to agree common messages and communicate them consistently.

That there is room for growth in terms of audiences.

Manchester


SUSTAINEDOUTCOMES

IMPACT

Research into urbancentres to see howthe visual arts ecologyworks

Research intoeconomic footprint

Map of the visual artsecology

Visioning day andoutline business plan

Advocacy (politicaland media)

Coordination ofactivities e.g.programming

Digital opportunitiesstrategy takingadvantage of the fibreoptic ring

Working with the BuyArt Fair/ ManchesterContemporary andCAS

Reports

Readers

Greater recognitionthat the sectorshould beunderstood as a CityRegion not the City

Lapsed relationshipsbetween artsorganisations arereinvigorated

Vulnerable butimportantorganisations aresupported andsustained

The best visual artsgraduates stay inManchester

The art market isstrengthened

The contemporaryvisual arts holds astrong positionwithin ManchesterCity Council’scultural vision

The studio networkis sustainable andincreases artists’selling

Contemporaryvisual arts inManchester have ahigher profile

Artists areeconomically activein the city ratherthan leaving

Manchester artistsand institutions getmore commissionsand co-commissionsfor

Sustained audiencegrowth

A strong andsustainablevisual artssector:

Greatervisibility andinfluence

Increasedcapacity

Morestrategicapproach



A strategy forpermanent andtemporary public art

A more joined upoffer for audiences

Liverpool


SUSTAINEDOUTCOMES

IMPACT

Commissioningcriticisms/writinge.g. A-N fund

Advocacy work

Scenario planning

Sharinginformation onprogramming e.g.shared criticalquestions,synchronisedopenings

Sharing resourcese.g. IT manager,Culture Campus,shared bid on CPD

Number of pieceswritten

Number of piecespublished

Visits by journalists

Depth and breadthof contacts with keyinfluencers

Scenario basedbusiness plan

High points in theseasons

Partners have ahigher profile,better regard,greater influenceand more money

More skilled andhigher levels ofLiverpool-focuscritical writing

Organisations cuttheir expenses andimprove the qualityof service

Partners have moreconsistent businessplanning

Audienceexperience isstronger e.g. clearerinformation, higherlevel of awareness,higher level ofattendance/crossover, being seen tobe more serious

Partners have abetter ability toprogramme work

Arts ecology isstronger e.g. artsschools, morecommercial activity,graduates staying

Audiences are moreactive



Increasedcapacity


Assumptions:

That working together is worthwhile

That other agencies don’t care or don’t get what we do

That we can handle competition between partners



That synchronisation increases media coverage

That when you get together you can open doors that you can’t on your own

That sharing critical questions raises the standing/perceived seriousness of the visual arts

That the binding point for collaboration is just as strong after City of Culture

That leadership can be a collective rather than an individual attribute

North By Northwest


SUSTAINEDOUTCOMES

IMPACT

An impact study intothe social, culturaland economicbenefits of visual artsorganisations andtheir work within theregion and beyond

Advocacy

The development of abespoke leadershipand professionaldevelopmentprogramme

A group visit toManifesta 08 inMurcia

Possible crossregional festival orevent

A report

Participants at CPDprogramme

Number ofparticipants on thegroup visit

Partnerorganisations andthe Lancashire andCumbria offerhave a higherprofile

Visual artsorganisations aremore aware ofeach other,develop ideastogether,

Organisationsincrease theircommunicationskills and networks

Audiences aremore aware thefull range of visualarts organisations

The partners willcontinue to exist

Visual arts sectorin the region shareskills, knowledgeand resources

The regionalidentity is stronger

There is morecross over inaudiences acrossevents

A strong andsustainablevisual arts sector:


Increasedcapacity


Assumptions:



That organisations have a big impact on their area even though they are small

That organisations would benefit from being less isolated

That visual arts in Lancashire and Cumbria is an untold story

That visual arts organisations can make a better case together

That leadership can be a collective rather than an individual attribute

That networks can still operate over dispersed, rural areas

That a shared visit/experience enables people to build long term partnerships

That an arts network can help to reduce political fragmentation

Northeast

CPD


SUSTAINEDOUTCOMES

IMPACT

Pilot programme:workshops, 1-2-1sessions, mentoring,placements, residentials

Develop and disseminatea model of good practice

Skills audit

Number andprofile ofparticipants (artsorganisations,freelancers)

List of trainingproviders in thesector

Leverage

Arts organisationsand artistsimprove theirskills andexpertise to dealwith the currenteconomicsituation e.g. newfinancial models,planning,partnershipbuilding,audiencedevelopment,sales

Learning fromother TPN groups

Redefine trainingresources in theregion

Organisationshave the skillsthey need tosurvive

People withnewly acquiredskills areequipped to trainothers

Skill swappingsystem issustained



Increasedcapacity


Commissions, collections and market development




SUSTAINEDOUTCOMES

IMPACT

Research visits

Dialogue with regionalplanners and developers,tourism agencies

Report to disseminatelearning

International exchange

Number ofpeople attendingevents

Number of copiesof reports

Betterunderstandingof the regionalcommissioningecology

Collaboration incommissioning

Enhancedknowledgesharing

Better way ofevaluatingcommissions

Greaterunderstandingof the artists’perspective

Increase incommissioning

More collectivecommissioning andcoordination

Greater linkbetweencommissioning andcollections

More influence oncommissioning e.g.developers

More intelligentworking and betteruse of resourcese.g. buildingsynergies

Greatercontribution ofcommissioning toartists’ professionaland artisticdevelopment



Increasedcapacity


Critical dialogue


SUSTAINEDOUTCOMES

IMPACT

Seminar withcritics/writers

Commissioned projects orwriting and theirdocumentation

Two day conference

Internationalcritics attendance

Leverage

Sharingknowledge andskills

Higher level ofcritical debate

More criticallyengagedpractice

Greaterinternationalprofile for artists inthe region

More criticalcoverage of NEvisual arts

Greater sense ofenergy andexcitement around



Increasedcapacity



Learning aboutforms ofdocumentationanddisseminatione.g. magazineinsert, Internet

the production ofvisual arts in theregion


Strategic funds


SUSTAINEDOUTCOMES

IMPACT

Advocacy

Research into anelectronic announcementsystem

Models of sustainability

Event on visual artsmobility

International profilingproject

Document statingthe benefits ofthe visual artssector includingcase studies andjoint working

Document on anelectronicannouncementsystem

Toolkit andadvocacydocument onartist mobility

Document onmodels ofsustainability

Leverage

Greaterawareness ofthe visual artssector amongthe local andbusinesscommunity

Sharing ofknowledge andexperience

Local, nationalandinternationallinks

Continuing workingrelationships acrossthe sector

Greater costeffectivenessacross the sector



Increasedcapacity


Southeast


LONGER TERMOUTCOMES

IMPACT

Action research andcritical debate

Marketing and audiencedevelopment

Region wide event

Links to: Permeate,

Participants atevents

Breadth anddepth ofengagement

Resources

Networks arebroader, moreinclusive, lesscliquely,reciprocal ratherthan lateral

Artistic practice isdeveloped

Profile andunderstanding ofthe region israised



Increased



digital content anddistribution network,architecture centres,craft networks, CCI ,VAGA, a-n, etc.

levered

Depth andbreadth of newcontacts made

Exhibitions ,residencies

Organisationsincrease theirawareness of thecomplexity ofengagement,strengthen theirmarketing,inclusion policiesand practice

Artists increasetheir awarenessof the complexityof engagement,strengthen theirnetworks, criticaldebate, selfadvocacy andincrease theirskills andknowledge

Expertise andcapacity areshared

Audienceengagement isdeepened andwidened

The sectorreaches abroader range offunding sources

capacity


Assumptions:

That artists are more separate from galleries and production than is the case in other art forms.

That artists can provide a cultural base with context and critical debate for arts organisations.

That RFOS will have an increasing responsibility to artists and the infrastructure as a result of the ACErestructuring and decline in grants to artists.

That the galleries’ increasing responsibility to develop new audiences has tended to exclude artists.

That the Turning Point Network can be a valuable source of intelligence for ACE.

That Turning Point Network makes organisational resources more shareable.

That Turning Point Network provides an easy route to disseminate information.

That organising Olympic events through Turning Point Network makes them more relevant and credible.

West Midlands


LONGER TERMOUTCOMES

IMPACT

Artist support anddevelopment:

Consultation with artists

Artist development

Number of artistsconsulted

Participation atevents

Artists feel theirvoice is heard,that they havecredibility withthe Arts Council,engage with a

Artists gain skills,confidence andinfluence

Artists stay in theregion, or are



Increased



workshops

National conference

Skills swap online system

Training and workexchange

Looking at anddeveloping models ofmaking money

Making the argument forworkspace and exhibitionspace

community, andincrease theircollaborations

Artists have moreopportunities toproduce work

attracted into theregion

Policy change:commissions arecreatively drivenrather thanthrough a socialagenda or cityprofiling

capacity


Research anddevelopment/ criticaldebate:

International researchvisits for artists andcurators

International showcasingof the region’s artists e.g.art fairs

Looking at anddeveloping systems ofdissemination

Looking at anddeveloping new modelsof how audiences areconstructed andengaged through e.g.residencies

Participants oninternationalvisits

Dissemination ofshared learning

Artists and artsorganisations areable to visit othergroups abroadand network

Artists areempowered tomake contactwith galleries,have strongerreputations, andmore workpportunities

Visual artsorganisationsstrengthen theircollaborationwith othersectors e.g.science andenvironment,and with culturalagencies abroad

The region isseen as aninteresting andvibrant placebecause it is soconnected to theworld

Advocacy andcommunication

Considering possiblestructures for compilingdata across the region

Creating an onlineknowledge sharingresource for artists and

Artists, artsorganisations andopinion formersdevelop asarticulate leadersfor the visual artssector withcommonmessages andoperate locally,

The TPN steeringgroup providesvision andlobbying for thevisual arts sector



individuals

Identifying successfulartists with links to theregion

subregionally,regionally,nationally andinternationally

Assumptions:

That artists feel un-empowered, are frightened about the future, are lacking in skills and knowledge.

That there is no sense of an artists’ community in the region, no real spaces where artists gather together,artists generally work in isolation.

That the region has a layer missing, where arts organisations apply for funding on behalf of artists.

That working with other art forms is not always easy e.g. because of differences in programming objectivesand time scales with performing arts.

That HE organisations often have outstanding international links that can be of value to the visual arts.

That internationalism is a positive way of showcasing diversity.

That using successful artists as spokespeople for the region will strengthen their relationship with theregion and also with other artists in the region.

Yorkshire and Humberside


LONGER TERMOUTCOMES

IMPACT

A programme of workthat includes go & seeactivity, critical debateand advocacy

A programme of workaddressing professionaldevelopment andleadership

A programme of workaddressing opportunitiesfor partnership betweenvisual arts organisationsand HEIs

A programme of work

Increasedcollaborationacross the sector

Moreopportunities toengage in criticaldebate

An opening upand embeddingof thecontemporaryvisual arts insociety

Growth of thevisual arts marketin Yorkshire

More resources(human and

Making Excellentthings happen

More and morediverse audiences

A sustainable andembeddedcontemporaryvisual arts sector



that leads to theformulation of a regionwide strategy formarketing the visual arts

financial / artsand non-arts)

Moreopportunities topartner, and toshare knowledgeand resources

Strongleadership, skillsand expertiseacross theworkforce

A shared andstrategicapproach tosustainability

turning point network interim evaluation report · a report considering turning point network as a...

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