Editorial
We must save strong regional programmes
It’s sometimes easy to be lulled by the media into the false idea that London is where it’s happening in terms of exciting programmes and exhibitions. But I was struck recently by how fantastic some of the exhibitions being created outside of the capital are.
One that captured my attention in particular was Caught in the Crossfire at the Herbert in Coventry. This self-generated exhibition showcases the work of artists dealing with conflict. It is resonant for a city that was scarred by war and that has built a reputation around peace and reconciliation.
The arresting art includes works commissioned especially for the show and builds on the Herbert’s existing collections that deal with conflict. The interpretation is bold and pulls no punches in delivering a message about the brutality of war.
When I visited, the audience was mixed and included that illusive museum demographic, teenagers visiting on their own (although this could be to do with the inclusion of some street art).
It is a great example of a museum using its collection to create impact. The powerful images are thought provoking, leading visitors to ponder the abuse of power and the reasons behind war.
It’s inspiring that the exhibition was created in-house as part of the Herbert Touring initiative and will go on display in Coventry’s twin city Dresden. But it is worrying that when great regional collections are creating projects and shows that can have a real impact on people’s lives, they face such unprecedented cuts.
Talking to staff across the UK, it’s the same story of posts going, programmes being curtailed and venues closing. Examples in this issue of Museums Journal show that even those that aren’t having the rug pulled away entirely face death by a thousand cuts.
Tough decisions have to be made about what to spend the remaining cash on. In my opinion, the real value lies in those programmes and activities that reach out to audiences and have impact. And they must be saved at all costs.
Sharon Heal, editor, Museums Journal
sharon@museumsassociation.org
www.twitter.com/sharonheal
www.museumsassociation.org/conference
One that captured my attention in particular was Caught in the Crossfire at the Herbert in Coventry. This self-generated exhibition showcases the work of artists dealing with conflict. It is resonant for a city that was scarred by war and that has built a reputation around peace and reconciliation.
The arresting art includes works commissioned especially for the show and builds on the Herbert’s existing collections that deal with conflict. The interpretation is bold and pulls no punches in delivering a message about the brutality of war.
When I visited, the audience was mixed and included that illusive museum demographic, teenagers visiting on their own (although this could be to do with the inclusion of some street art).
It is a great example of a museum using its collection to create impact. The powerful images are thought provoking, leading visitors to ponder the abuse of power and the reasons behind war.
It’s inspiring that the exhibition was created in-house as part of the Herbert Touring initiative and will go on display in Coventry’s twin city Dresden. But it is worrying that when great regional collections are creating projects and shows that can have a real impact on people’s lives, they face such unprecedented cuts.
Talking to staff across the UK, it’s the same story of posts going, programmes being curtailed and venues closing. Examples in this issue of Museums Journal show that even those that aren’t having the rug pulled away entirely face death by a thousand cuts.
Tough decisions have to be made about what to spend the remaining cash on. In my opinion, the real value lies in those programmes and activities that reach out to audiences and have impact. And they must be saved at all costs.
Sharon Heal, editor, Museums Journal
sharon@museumsassociation.org
www.twitter.com/sharonheal
www.museumsassociation.org/conference