Art is for everyone...

-Keith Haring

While in London (meeting with my family to remember my late Gran) there were some billboards on the tube that caught my attention. In bold letters it said, "We need more square pegs", which made me smile as I have often felt like people have tried to put me in a round hole during my life. I did not fit the expectations that were thrust upon me due to my physical appearance. At school I was made to feel that I was not "black " enough due to being quite introverted, watching sci-fi, anime, reading graphic novels and listening to alternative music. Art college was one of the only places I felt I could express myself without ridicule (I was voted the worst dressed girl in sixth form where I would customise my clothes), although I still had to deal with the weird misconceptions from the wealthier  students who presumed that I could (again due to the skin I am in) hook them up with illegal substances.

Getting back on point though, I decided to  further look into and support the campaign that had caught my attention. Known as the "Art is a serious subject" drive, it is a nationwide campaign by the Royal Academy of Art, which aims to raise awareness around the importance of arts education in schools. The campaign highlights the decline in the number of students studying art, design, and technology at a GCSE level and calls for increased investment/funding in these areas, where the curriculum has become mainly test driven.

Nonetheless there are some other things that I feel need to be addressed if this campaign is going to be successful. One of which I have blogged about before, which is the fact that society does not seem to take art degrees seriously when they have many benefits, such as being used in art therapy and science in regard to forensic illustration. Many people often believe that art is just a hobby or a talent, rather than a discipline that requires skill, knowledge, and critical thinking. There is a lack of understanding of artistic processes, where creativity can seem abstract or even chaotic to those who are not familiar with it. This in my opinion can lead to the misunderstanding that art is not based on any real rules or standards. Unlike subjects such as maths, science, and English, which are often prioritized over the arts, creating the impression that the arts are less important or worthwhile.

There are some negative stereotypes about art being a "doss" (easy) subject, and that “starving artists” are lazy, impractical, or irresponsible. These stereotypes can make it difficult for people to take art seriously. It is also (on the flipside) seen as a subject of privilege for affluent people who do not want “real jobs;” yet this is far from the truth as I and many other artists I met during my studies were not like this. What  I will say though, is that there is definitely an issue with nepotism and  gatekeeping in the art industry with fewer than one in ten arts workers in the UK coming from a working-class background, as well as a whopping 90% of workers in the cultural sector being white, and only 20% of them being disabled.

Often celebrated for its diversity and innovation, the art world still paradoxically remains a space where Black, Asian, and Minority Ethnic (BAME) artists face significant hurdles. These barriers, which are often rooted in classism, systemic racism, and historical inequities limit opportunities for BAME artists to showcase their work, gain recognition, and achieve professional success, which again would be discouraging for those who may want to further their education in the arts.

One of the most significant challenges faced by BAME artists is the lack of funding and financial support. Traditional funding bodies, such as arts councils and private foundations, have historically favoured established white artists and institutions. This bias leads to a disparity in funding, with BAME artists receiving significantly less financial support for their projects. In 2019 it was found that BAME-led organisations were 60% more likely to fall at the first hurdle when applying for project grants from the Arts  Council England (while on a positive note LGBT-led groups were 25% more likely to secure them), which led to the ACE announcing in 2022 that it will triple the number of ethnic minority-led organisations it funds as part of an overhaul of its grants programme. Proving my point  that without adequate funding, it becomes difficult for BAME artists to produce high-quality work, participate in exhibitions, and build sustainable careers, as this hinders their career progression and opportunities where unconscious biases within the art world can lead to BAME artists being overlooked or underappreciated.

Another major barrier is the underrepresentation of BAME artists in decision-making positions within galleries, museums, and other arts organizations with people from BAME backgrounds making up just 3% of the boards of MPMs (Major Partner Museums). This lack of diversity in leadership roles leads to a homogeneity in programming and exhibition curation, often excluding the work of BAME artists. Furthermore, beyond systemic barriers, BAME artists also often face unique challenges finding a place in the art world. Many lack access to mentors who can provide guidance and support, particularly in navigating the often-exclusive art scene. Building connections and networks can be difficult for BAME artists, as they may not have the same social capital or cultural capital as their white counterparts. Additionally, BAME artist’s may face the risk of their work being appropriated or exploited by mainstream institutions without proper recognition or compensation.

The lack of opportunity for BAME artists has far-reaching consequences for the arts industry as a whole, as it limits the diversity of perspectives, experiences, and creative expression that enrich the cultural landscape. By excluding the voices and contributions of BAME artists, the art world perpetuates a monocultural narrative that fails to reflect the richness and complexity of society, which is such a shame as the art history lectures many of us (art students) have to go to, and research during our degrees shows us the complete opposite. (I really enjoyed learning about Faith Ringgold during my studies)

Personally I feel that art is a visual language that transcends time and culture, complementing written records and archaeological findings. By examining the artistic expressions of past civilizations, we can gain insights into their values, beliefs, and daily lives. Paintings, sculptures, and other forms of artistic expression for example can capture the drama and emotion of historical moments, offering a unique perspective that words alone cannot convey. For instance, Eugene Delacroix's iconic painting "Liberty Leading the People" vividly depicts the fervour and idealism of the French Revolution. Such artworks transport us to the heart of historical events, allowing us to experience them first-hand.

Beyond historical events, art also provides a window into the everyday lives of people in the past. Ancient Egyptian tomb paintings, for example, offer glimpses into their daily routines, from farming and hunting to social gatherings. These visual records reveal the rituals, customs, traditions, and social structures of these ancient civilizations. Similarly, portraits and sculptures offer insights into the ideals of beauty, power, and social status prevalent during that era. Art can also be a powerful tool for social and political commentary. Works like J.M.W Turner’s “Slave Ship” (Zong) and Picasso’s "Guernica" serve as a poignant reminder of the horrors of war and the destructive power of enforcing supremacy. Such artworks can inspire social change and challenge the status quo. Moreover, the materials and techniques used in art can provide clues about the economic conditions of a society. For example, the Benin Bronzes still captivate anyone who sees them today. Actually made of a copper alloy, these beauties made between the 13th and 19th century often depicted members of their Royal family, God's from their pantheon, and animals that are still recognisable today in Western Africa, showcasing the remarkable innovative and technical skills of the Edo people during that time.

So with that I do agree that art is a serious subject, but would like to also reiterate that it goes beyond funding. The art world needs to re-examine how it perceives artists with more needing to be done in regard to challenging and re-evaluating traditional and often Eurocentric art history narratives and acknowledging the contributions of artists from diverse cultures to Western society. For example the Royal Academy had an exhibition earlier this year, "Entangled Pasts, 1768–now; Art, Colonialism and Change" that tried to bring the above to the forefront, likewise the Tate had an exhibition to celebrate the Windrush ("Life Between Islands, Caribbean-British Art 1950s – Now") which focused on  artists from the Caribbean who came to Britain after  WWII, and British artists who were inspired by their Caribbean heritage. But it is not just about people of BAME backgrounds, art institutions also need to be physically and culturally accessible to people from all walks of life, including those with language barriers and disabilities; where artists and visitors can feel valued, respected and confident in regard to wanting to pursue the option of contributing to this field as a long term career or even investing in a membership.

There has been some progress with these exhibits (mentioned above) and the theatre, where I have enjoyed seeing a more diverse cast at Shakespeare's globe. In spite of that, I feel that there is still more to be done in regard to opera and dance. My Mum went to see a performance by the Black Ballet earlier this year though, which she said was amazing, however it is disheartening that an organization had to be formed separately from the English National Ballet and Opera due to what I have discussed throughout this blog, nevertheless the links with statistics (below) have helped to again highlight these inequalities and with that, the hope that they will bring forward a much needed change.

References: 

https://www.royalacademy.org.uk/article/art-is-a-serious-subject (RA's "Art is a serious subject")

https://www.ethnicity-facts-figures.service.gov.uk/culture-and-community/culture-and-heritage/taking-part-in-the-arts-culture-and-heritage/latest/ (UK Government statistics regarding participation in the arts, culture, and heritage by ethnicity)

https://www.google.com/amp/s/amp.theguardian.com/inequality/article/2024/may/18/arts-workers-uk-working-class-roots-cultural-sector-diversity (Guardian article about the lack of working class people in the arts and culture sector)

https://pec.ac.uk/wp-content/uploads/2024/05/Arts-Culture-and-Heritage-Audiences-and-Workforce-Creative-PEC-State-of-the-Nation-report-May-2024.pdf (State of Nations research series on audiences and workforces in the arts, culture and heritage within the UK)

https://www.google.com/url?sa=t&source=web&rct=j&opi=89978449&url=https://archive-media.museumsassociation.org/16092010-workforce-conclusion.doc&ved=2ahUKEwi4yISW2ceJAxW9WUEAHXKFNZYQFnoECBEQAQ&usg=AOvVaw2kVyhq-W8mUAyi5xo1fPsY (The ethnic diversity of the museum workforce from the Museums Association UK)

https://www.artscouncil.org.uk/research-and-data/diversity-data/equality-diversity-and-inclusion-data-report-2021-2022 (Arts Council England equality, diversity and inclusion data report)

https://www.royalacademy.org.uk/page/race-equity-statement-20 (Royal Academy race equality statement)

https://www.thirdsector.co.uk/arts-council-england-triple-number-bame-led-groups-funds/infrastructure/article/1804284 (Third sector article regarding ACE tripling BAME funding)

https://www.artsprofessional.co.uk/news/who-gets-ace-funding-diversity-data-reveals-surprising-trends (Arts Professional article on ACE funding)

https://www.tate.org.uk/about-us/our-commitment-race-equality (The Tate Gallery’s commitment to race equality)

https://www.shakespearesglobe.com/discover/blogs-and-features/2020/08/12/shakespeares-globe-publishes-diversity-data-and-statement-of-intent/ (The Globe theatre’s diversity data and statement of intent)

https://balletblack.co.uk/the-company/about-us/#:~:text=Founded%20in%202001%20by%20Cassa,motto%2C%20'Change%20Not%20Trend (About the Black Ballet, whose mission is to showcase BAME diversity on stage)

https://bbcf.uk/about-us/ (About the Black British Classical foundation, formed to nurture interest and participation in Opera amongst communities of colour in the UK)

https://www.ballet.org.uk/project/ballet-futures-pipeline-project/ (English National Ballet Pipeline project towards a more diverse and inclusive future in classical dance)

https://www.eno.org/news/english-national-opera-announces-strategy-for-nurturing-bame-talent-and-encouraging-a-more-inclusive-opera-industry/#:~:text=ENO%20is%20to%20recruit%20four,extending%20for%20a%20further%20season (English National Opera’s strategy for nurturing BAME talent and encouraging a more inclusive opera industry)