Shared InterestCollaboration between

museums, visual

arts organisations

and universities in

England’s North West

2009

22

Purpose

Shared Interest is about developing collaboration, partnerships and research relationships between museums, visual arts organisations and universities in the North West of England. This booklet demonstrates how these sectors can achieve more by working together, and shows how professionals from each sector can collaborate.

The aim is to highlight the potential for increased collaboration between the sectors, to present a picture of what is happening in the North West, and to contribute ideas and guidance as to how partnerships can be more successful.

The project arose as a result of discussions between Higher Education Institutions (HEIs), cultural agencies, museums and galleries in the North West. The lack of documentation and profi le of existing collaboration between the two sectors suggested a picture of one-off and short term projects. The resulting research was commissioned by Renaissance North West, Arts Council England, North West, and the North West Universities Association in order to fi nd out just what collaboration was taking place.

Introduction

33

Priority Definition

Widening participation Encouraging new audiences within each

sector, and widening student, academic,

and public engagement

Knowledge exchange Both ongoing and project based

exchanges between specialists in each

sector and links to the wider professions

Employer engagement Internal programmes of professional

and skills development and work with

employers from outside of the sectors

Collaborative research Joint resourcing of research programmes

with finances, collections, professional

time, and expertise

Entrepreneurship Establishing new projects and

businesses to work across the sectors

Innovation and creative Identifying, negotiating and implementing

practice new and changed ways of working

The commissioning partners considered the shared interests of the two sectors and identifi ed six priorities which have helped to frame the research:

Steve Devine

4

MethodThe Shared Interest research set out to identify compelling regional examples of

collaboration between HEIs and museums and visual arts organisations, and the

key features of successful partnerships. The research also sought out examples

of research relationships and initiatives that raised the profile of collections and

strengthened scholarly capacity.

The research was commissioned in March 2009 and carried out by Jane Dawson

and Abigail Gilmore overseen by a steering group with members from each

sector. Fifty two key professionals were interviewed from universities, agencies,

museums and visual arts organisations across the region. The results of this

consultation process were used to identify a number of case studies throughout

the North West. The full report, Shared Interest: developing collaboration, partnerships and research relationships between higher education, museums, galleries and visual arts organisations in the North West (2009) can be found at

www.renaissancenw.org.uk

Case studies Eleven case studies were undertaken as part of the research. The studies

explored four different types of relationship between museums, galleries and

visual arts organisations and HEIs:

• Partnership – where an ongoing and long term relationship exists

• Programme – a themed or grouped strand of activity

• Project – a time limited and discrete piece of joint working

• Collaboration – a joint venture where both parties contribute at a variety of levels.

University of Manchester

5

CASE STUDY 1

The Grosvenor Museum and the University of Chester

Commentary

The Grosvenor Museum has worked with the University

of Chester on a regular basis for the last ten years. The

relationship began when a senior lecturer at the University

invited one of the Museum’s curatorial team to deliver a

lecture, and developed through a series of reciprocal talks

and workshops into a more collaborative partnership.

Audiences at the Museum have been introduced to new

art forms and styles through exhibitions of the work of

lecturers from the University. The University’s academic

team has also worked with the Museum to curate

exhibitions from its fine art collection and to produce

associated catalogues and lectures. Benefits have

included better devised and written support materials

and wider exposure to hidden works in the collection.

A third partner, Florence’s Fiesole Art School has

collaborated on programmes of exhibitions, student

engagement and workshops.

Objectives for the partnership are summarised as:

• Extending the range of contemporary art exhibitions

at the Museum

• Ensuring that students are able to engage with

experienced practitioners

• Broadening the audience base for exhibitions and talks

at the Museum

• Providing opportunities for locally based contemporary

artists to show their work

• Conservation and display of seldom seen works from

the Museum’s collection.

Characteristics

An established informal partnership has evolved and delivers a range of activities, publications and student engagement

Outcomes

Shared understanding and objectives are accompanied by clear delegation to lead officers who can develop and implement initiatives

The Grosvenor Museum © The Grosvenor Museum

University of Chester

6

CASE STUDY 2

Dove Cottage and the Wordsworth Museum, and the University of Lancaster

Commentary

Dove Cottage and the Wordsworth Museum was founded

as a living memorial to William Wordsworth and his

contemporaries and is based at Dove Cottage and the

hamlet of Town End, Grasmere. The Museum has worked

with many research projects and universities from around

the world. This case study concerns a research project

undertaken with the University of Lancaster called ‘From

Goslar to Grasmere’.

Goslar is a town in Germany visited by Wordsworth and

his sister in the winter of 1798 where the poet began his

autobiographical work, The Prelude. They then settled in

Grasmere the following year where Wordsworth began the

poem Home at Grasmere. The research project considers

these two texts and explores the relationship between

the two places, the poems, and the manuscript itself. The

project was led by the University of Lancaster, working

closely with the Museum, and was funded through the

AHRC Landscape and Environment Programme.

The project objectives were:

• Exploration of the creative process, analysing texts and

manuscripts to access the processes and motivations

of the writer

• Looking at different and deeper ways to approach,

interrogate and interpret manuscripts

• The digitisation of manuscripts online as a resource

with three entry levels (specialist, non-specialist, and

educational) on the site www.digitalwordsworth.org

• Technological development using the Text Encoding

Initiative

• Widening access to Wordsworth’s writings through

online access

• Providing research material for the University’s

Wordsworth Centre.

Characteristics

Formal and informal collaborations for some years leading to an Arts and Humanities Research Council (AHRC) funded research project

Outcomes

Detailed examination of specific texts and a dedicated website

The

Wor

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orth

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st –

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ood

Wordsworth Trust

7

CASE STUDY 3

Grizedale Arts and Liverpool John Moores University

Commentary

The partners on this project work in similar ways,

pioneering new approaches to artistic production and

exhibition and providing artists with the opportunity

to develop their work in and with social, cultural and

economic contexts. Grizedale Arts is an international

research and development agency based in the Lake

District National Park with a significant reputation for

innovation. Contemporary arts are sited within the rural

environment in a programme of events, projects

and residencies.

Liverpool John Moores University (LJMU) Site Project at

Liverpool School of Art and Design aims to interface the

work of students and staff with the work of national and

international artists and designers. An initial LJMU series

of talks at Grizedale Arts led to an ongoing relationship

and collaborations on two Creamfields festival projects

involving street artists and an online television channel.

Grizedale’s logistical experience helped provide artists

from Liverpool (and the University in particular) with

opportunities to work in new ways. An international

collaboration has developed online webcasts from the

partners to the Venice Biennale.

Objectives of the project were:

• Raising the level of debate and discussion on

contemporary arts practice

• Producing a body of artistic material and debate

• Enabling students to work with ‘cutting edge’ artists

and practitioners

• Developing a programme of internationally recognised

speakers and publications

• Exploring opportunities for employment in a globalised

arts market.

Characteristics

Project based initiatives led to ongoing artists projects and an informal reciprocal relationship

Outcomes

Artists projects that are fun and informative, involving students and providing a platform for professional and academic development

Griz

edal

e A

rts

Liverpool John Moores University

8

CASE STUDY 4

The Alchemy project at The Manchester Museum

Commentary

The Manchester Museum is in fact part of the University

of Manchester which inevitably assists collaboration

between the two bodies. This case study is about just

one collaborative project, Alchemy, where the combined

resources of the Museum and University provided

a fertile context for artists’ research.

The Alchemy project was funded by Arts Council England,

Visiting Arts, the Esmee Fairbairn Foundation, the Henry

Moore Foundation, Renaissance North West, and the

En-quire programme. The project aimed to facilitate work

which interrogates museum processes and institutional

practices, and which supports creative ideas outside of

the usual practices associated with museums.

The project comprised a designated curator and an

open call for research proposals from artists resulting

in residencies at the Museum and a series of works,

exhibitions, seminars and publications. Work placements

for BA Photography students and an educational

programme working with 80 young people from regional

schools also formed part of the programme. Artists

worked with museum staff, collections and materials to

produce work in the museum.

The project objectives were:

• Use of the Museum’s collections, research activities

and members of staff as the primary resource for the

participating artists

• Work with the University of Manchester academics

and resources

• A focus on process and research

• New ways of expressing ideas to increase engagement

with research

• Documentation of the research process.

The case study found examples of widened participation and

of knowledge transfer. For example 32% of those attending

Alchemy events had never visited the Museum before.

Examples of knowledge transfer covered anthropology,

geology, and ornithology, and the project has engendered

further research, academic papers, and commentary.

Characteristics

A call for research proposals leading to artists residencies, work placements and an educational programme

Outcomes

Development of a model for using collections as a learning tool. Widened participation, and academic work-streams

Manchester Museum © The University of Manchester

The Manchester Museum

9

CASE STUDY 5

The Whitworth Art Gallery and Manchester Metropolitan University

Commentary

Like The Manchester Museum, the Whitworth Art Gallery

is part of the University of Manchester. The Gallery is

concerned with fusing together academic research,

curatorial practice and resources for artists, gallery

audiences and wider communities. This case study

considers a project called ‘On an Unknown Day’ which in

fact entailed collaboration with academics at Manchester

Metropolitan University in its development.

The project developed as a partnership between the

Gallery, a cultural geographer and doctoral student, a

practising artist, and an interest group (Out in the City).

The commission resulted in a performative art work and

exhibition, looking at queer history and human geography

inspired by early social networking in Manchester and the

North West.

The aim of the project is to develop collaborative work

which brings together community, academic and artists’

interests in creative practice. Community interests are

engaged at every level of decision making with the group

of around twenty participants meeting twice a week over

a four month period.

Characteristics

Collaborative work bringing together community, academics and an artist in creative practice based on collaborative decision making

Outcomes

A model for genuine participatory activity and an exhibition

The Whitworth Art Gallery © The University of Manchester

The Whitworth Art Gallery – Claire Wood

10

CASE STUDY 6

Gallery of Costume (Manchester City Galleries) and Manchester Metropolitan University

Commentary

The collaboration came out of a series of discussions

between the University and the Gallery. The interest in

work between universities, museums and practitioners in

the area of textiles was already established in Manchester

through ongoing forums in the city and an AHRC

workshop series.

The emerging project resulted in a textile artist based at

the University being asked to respond to the Gallery of

Costume collection and to create an exhibition which will

be part of the launch of the refurbished gallery in 2010.

The artist will liaise with the MA Design Lab at Manchester

Metropolitan University where students have been given

the brief to reinvent the Gallery of Costume. They will do

this by looking for new audiences and answering hitherto

unasked questions such as what is the nature of the

Gallery’s relationship to the city?

The project lasts for the duration of the MA course in its

first phase. The participating students have come up

with a plethora of ideas and new contacts. Students

have gained direct experience of responding to briefs

as a team, and knowledge of conservation and

curatorial practice.

Characteristics

Commissioning of students to reinvent the gallery, resting on a long standing relationship between the organisations

Outcomes

A pool of ideas and new perspectives to inform development and brokerage of new partnerships

Platt Hall © Manchester City Galleries

Manchester City Galleries

11

CASE STUDY 7

Bolton Museum and Archive Service and the University of Bolton

Commentary

Bolton Museum and Archive Service is managed by

Bolton Metropolitan Council. The University of Bolton was

established in 2005 from the former Bolton Institute and

delivers undergraduate and postgraduate programmes.

The University and the Metropolitan Council are two

major employers and strategic organisations in Bolton

and work together to improve services to communities

in the town. The two organisations have adopted a

Memorandum of Co-operation to provide a framework for

collaborative working.

The Museum and Archive holds an important collection

of photographs by Humphrey Spender which form the

nucleus of the Worktown Collection. The collection also

includes work by Julian Trevelyan, Humphrey Jennings

and Graham Bell and has its own dedicated gallery at the

Museum. The University runs a documentary photography

course and a series of courses relating to 20th century

British history.

The partnership considered in the case study began

around 2006 with the aims of stimulating creativity and

keeping collections alive and relevant by holding a

conference on leisure history. The conference was hosted

at the Museum and involved a partnership approach to

using the Worktown Collection as a subject of academic

study. The collection provided a tangible reference point

for academic historians who presented research and

engaged with local archivists, curators, photographers

and historians. The event formed the first of a series

of three conferences and of a broader joint working

arrangement between the two organisations.

Objectives of the partnership were:

• Developing research inspired by the collection

• Stimulating new projects, including conferences and

publications

• Widening access to the collection and specialist use

• Improving opportunities for students

• A tangible outcome for the strategic partnership

• Encouraging broader engagement with the collection

by the public and academics

• Raising the University’s profile.

Characteristics

Bringing together of a collection and an academic programme

Outcomes

The museum hosted a series of academic conferences, as the basis to develop broader collaborative working

Open market – shoppers © Bolton Council from the Bolton Museum and Archive Service collection.Photograph taken by Humphrey Spender for the Mass Observation Worktown project between 1937 and 1938.

Bolton University

12

CASE STUDY 8

Harris Museum and Art Gallery and the University of Central Lancashire

Commentary

The Harris Museum and Art Gallery is managed by

Preston City Council and has a long standing relationship

with the University of Central Lancashire (UCLan). Around

50 examples of joint ventures between the organisations

include: student shows and lecturer exhibitions at the

Harris; joint publications; workshops and lectures at the

Harris by University lecturers; use of collections to support

academic study at the University.

The University was a key partner when the Council’s

Arts Strategy was developed and collaborative working

was identified as an important element of delivery of

cultural services in the city. The case study focuses on

two collaborative programmes undertaken in partnership

by the Harris and UCLan: ‘Digital Aesthetic’ and ‘In

Certain Places’. Both programmes have longevity, shared

objectives and benefits for each partner.

‘Digital Aesthetic’ was conceived as a conference

combined with exhibitions in electronic and digital art,

providing opportunities for artists to develop new work and

Characteristics

Two collaborative programmes: ‘Digital Aesthetic’ and ‘In Certain Places’

Outcomes

Collaboration enabled more ambitious programmes, widening access, international contacts and local impact

Harris M

useum &

Art G

allery

University of Central Lancashire

13

share ideas. The first event was held in 2001 and this was

followed up with an event in 2007 exploring how the digital

age is changing perceptions of art. There were three main

components to the project: a conference, a website and

an exhibition. Other partners included BBC Learning and

Preston Art and Design.

Objectives were:

• Add value to the Harris collections

• Extend creative practice

• Expose visitors and students to international

contemporary digital work and artists

• Widen engagement, particularly with minority groups,

and enable local access

• Opportunities for students to develop professional

practice and to engage with artists

• Enhance the University’s reputation in the field, and to

put Preston on the map.

The ‘In Certain Places’ programme was initially conceived

when redevelopment plans were first being prepared

for the Tithebarn area of Preston city centre with the aim

of incorporating public art within the development. A

programme of temporary public art commissions took

place and a series of associated talks and debates.

Funding was obtained from both the Higher Education

Funding Council for England and Arts Council England

as well as the principal partners. Activities and projects

included: the appointment of an international lead artist;

a temporary public art programme; talks and debates and

a website.

Objectives were:

• Integrating art and artists into the public realm

• Improving the public realm and creating better spaces

for people

• Enhancing the existing programme of small scale

public art

• Improving the University’s postgraduate offer

• Increasing the University’s research profile

• Professional development for curatorial and academic

participants.

Harris Museum & Art Gallery – Claire Wood

14

CASE STUDY 9

The Storey Gallery and the University of Lancaster

Commentary

Lancaster’s Storey Institute is being developed as a

creative and cultural hub and includes the refurbishment

of a gallery space as units for creative and cultural

industries. The University was approached by the director

of the Storey Gallery with an idea for a research project

to explore the potential for collaboration between publicly

funded cultural organisations and commercial creative

industries. The desired outcome was to be connectivity

between the different tenants in the new units.

The partners created a small team, visiting comparable

projects prior to developing a project plan for the first

phase with funding from the Engineering and Physical

Sciences Research Council. This work was to provide

information for a full research proposal to the AHRC.

Activities have included a consultation workshop with

attendees from around the UK and the development of the

research proposal.

Objectives for the project are:

• Exploring issues around the Creative Economy

Programme and its connection with non-commercial

cultural organisations

• Refocusing the Storey Institute’s development to

nurturing creativity

• Development of a full research question and funding

proposal

• Exploration of issues about how people make sense of

their professional environment.

Characteristics

An exploration of the potential for collaboration between publicly funded cultural organisations and commercial creative industries

Outcomes

A research proposal for a three year study

Storey Gallery, Lancaster 2009 © Storey Gallery

Storey Gallery, Lancaster 2009 © Storey Gallery

15

CASE STUDY 10

Tate Liverpool and collaboration with Higher Education Institutions

Commentary

Tate Liverpool was established in 1988 and has developed

a strong collaborative role across the North West,

including helping found the Culture Campus with

the University of Liverpool (UoL), Liverpool Hope

University (LHU), and Liverpool John Moores University

(LJMU). The various partnerships that Tate maintains with

regional HEIs are characterised by sharing resources to

support a collaborative approach to art history, curating

exhibitions, education and research, particularly at

post-graduate level.

Links to regional universities include:

• BA History of Art and Museum Studies (LJMU)

• MA in Art History and Curating (LHU)

• Annual Symposium with Masters in Research (LJMU)

• MA in Fine Arts (LJMU)

• FE and Lifelong Learning (UoL)

• MA Contemporary Curating (Manchester Metropolitan

University)

• MA module in Curating the Contemporary (Manchester

Metropolitan University, UoL, LHU, UCLan, Staffordshire

University)

• Joint supervision of Collaborative Doctoral Award (UoL)

• Internships for MA in Art, Aesthetics and Cultural

Institutions (UoL)

• Work placements

• Gallery Education Module and events for Artists

Teacher MA (LMJU).

Research collaboration is similarly well developed

with post-graduate work and doctoral theses regularly

engaging with the collections and staff of the Tate. Tate

Liverpool brings together researchers in forums around

exhibitions and displays. Undergraduate students at

LJMU work with Tate staging symposia based on the

gallery’s exhibitions.

Characteristics

Joint delivery of academic programmes and post-graduate research

Outcomes

A range of academic courses, undergraduate and postgraduate taught programmes, professional development and research forums

Tate

Liv

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ol ©

Tat

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ool 2

009

University of Liverpool

16

CASE STUDY 11

The People’s History Museum and the University of Central Lancashire and the University of Nottingham

Commentary

The partnership began in 2006 with an AHRC Museums

and Galleries Core Funding grant for the Designated

Collections. It has produced a range of activities which

make the collections and archives of the Museum more

accessible and improve their usage within academic

research. The partnership secured a two-year post

doctoral fellowship for the History Department at UCLan,

based at the Museum, and assisted the development

of online access to the Labour History Archive and

Study Centre.

The collaboration has also produced two successful

conferences in 2006 and in 2008, leading to published

papers. Academics and curators worked together to

explore how the two disciplines can best collaborate in

locating, understanding and analysing visual collections.

The UCLan publication by CETH students (Centre for

Employability in the Humanities) funded and produced the

‘Battle for the Ballot – The struggle for the vote in Britain’

publication. This came out of the 2007 exhibition opened

by Billy Bragg and his Bill of Rights Roadshow which

he brought to UCLan in a very popular public lecture in

December 2007 and was published in September 2009.

Battle for the Ballot has become the blueprint for the major

theme in the Museum’s new galleries which are part of its

current £12.5 million refurbishment.

The partnership also underpins teaching at UCLan.

Characteristics

Improving and widening use of the Museum collections and archives

Outcomes

A post doctoral research fellowship, three collaborative doctoral awards, conferences, publications, and teaching content at UCLan

University of Central Lancashire

Peo

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s H

isto

ry M

useu

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© P

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His

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Mus

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Strengths Response

Successful engagement between

the sectors is often driven by highly

motivated professionals in each sector

reaching out to one another

Support cross sector engagement

with networks and forums. Include

contributions to cross sector working

and communications in work plans and

staff evaluation

Cross sector working attracts external

investment and ‘baskets’ of funding

Ensure professionals in each sector are

aware of funding opportunities in the

other. Provide information content for

bulletins and websites through

identified contacts

Long standing relationships provide

a good platform for innovation and

development

Encourage and maintain relationships

across the sectors during periods where

joint working is dormant. Plan regular

updates and quarterly meetings

Weaknesses Response

Collaborative working is hidden from

potential investors and stakeholders

Make more use of communication

channels and the web and ensure

partners are properly credited.

Provide edited copy and images to

partners for inclusion in both electronic

and print media

Added value generated by joint working

is not captured

Plan for the capturing of evidence of

added value and impact to projects and

programmes, and publish the results.

Agree performance criteria at the outset

of the project and methods of collecting

quantitative and qualitative data

What have the case studies told us about the relationship between museums, galleries, visual arts organisations and universities in the North West?

Art and Design Academy at Liverpool John Moores University

18

Opportunities Response

Collections are of great value as

research subjects

More promotion of collections to HEIs

and targeted information about synergies

with identified research priorities

Collections bring research to life and can

widen the research audience

Alignment of exhibitions with research

priorities of HEIs and showcasing of

research within museums and galleries

Clearly designated liaison posts

stimulate collaboration

Plan, monitor and resource liaison

work between the sectors and ensure

designated post-holders are flagged up

to potential partners

Demonstration projects motivate others

to emulate successful joint working

Target resources on prioritised areas

of joint project work within future plans

and budgets. Research Councils to

commission exemplar projects

Threats Response

There are different ways of working in

each sector

Ensure work is preceded with ‘kick off’

meetings to fully articulate every element

of the programme in detail. Jointly

consider the likely risks to the programme

Perceptions of each sector by the other

can be a barrier to joint working

Promote informal contacts between

professionals in each sector whenever

the opportunity presents itself.

Encourage collaborative research

practice in research proposals

Pressures on public funding in each

sector

Align the outputs of joint working with

the corporate objectives of each partner

and relevant funding and research

organisations

Whitw

orth Art G

allery © U

niversity of Manchester

19

Senior managers and stakeholders can encourage partnership

It is important for the leaders and senior

managers of organisations to make a long

term commitment to collaboration and to

be seen to take a lead. The Chester case

study illustrated how senior level contact

broke down ‘town and gown’ barriers to

collaboration. In the case of Grizedale

Arts and Liverpool John Moores University,

their commitment to the collaboration is

maintained even when nothing much is

happening between the partners. In Bolton

the University and the Council wanted to join

forces to improve services to the community

and a Memorandum of Co-operation has

resulted, formalising collaborative working.

When the leadership of organisations are

seen as promoting partnership and are able

to articulate the benefits of collaboration the

results are likely to be more far reaching.

Reciprocity

The collaboration between Grizedale Arts

and Liverpool John Moores University first

came about through Grizedale inviting the

University to give a programme of talks. In

Chester an invitation from the University to

the Museum to give a lecture on framing and

hanging led to reciprocal invitations that have

extended into wide ranging programmes of

activity. The relationship between the Harris

Museum and Art Gallery and the University

of Central Lancashire that led to the two high

profile projects considered in the case study

first began because of personal contacts

between museum staff and individual

lecturers. Reciprocity is at the heart of almost

all joint working identified in this report and

should be managed as both an individual’s

and organisation’s professional responsibility.

Identify where collaboration adds value and quality

While both the Museum and the University

in Bolton had clear strengths in the field of

documentary photography, it was when the

opportunity to utilise the Worktown Collection

for academic study was developed through

a University led conference programme

hosted at the Museum that the potential of

the collection began to be realised. There

is no doubt that the first tangible outcome

of the Grizedale and Liverpool John Moores

University collaboration, Creamfields TV,

offered students new ways of working and

widened interest in both organisations. In

Chester making interpretation less academic

has been a welcome collaborative outcome.

Furthermore, a framework for recording

manuscript images has been developed in

a research funded project that can now be

extended to the rest of the collection. The

‘Digital Aesthetic’ and ‘In Certain Places’

programmes considered in the Preston

case study had a national and international

impact, and a breadth of local engagement

that could not have been achieved without

the contribution of both the Harris Museum

and Art Gallery and the University of Central

Lancashire. Added value and quality can

be a planned outcome or an unexpected

result of partnership working and may be

of interest to professionals both inside and

outside of the partners’ sectors.

How can ‘Shared Interest’ continue to be developed?

20

Encourage members of your team

In Chester the delegation of responsibility

to enthusiastic curators and academics

meant that they had the freedom to forge

relationships. The Grizedale project required

the lead team members of the partners

to act with a high degree of delegation to

fulfil their joint function as artistic director.

The development to a formal partnership

in Bolton was driven by a lead officer in the

University and a lead officer in the Council

being empowered to make day to day

decisions to develop partnership working,

meaning that high level discussions were

informed by actual activity not just intention.

Where team members take the initiative to

pursue cross sector working the research

indicated that a light touch and flexible

management can result in more collaborative

progress than would have been foreseen at

the outset.

Collaboration can mean enhanced quality and competitiveness in securing investment

Securing research funding for ‘From Goslar

to Grasmere’ was achieved by the University

of Lancaster for a project that included both

an exploration of relationships between the

places, Wordsworth’s text, and the actual

physical manuscript. The project has led to

a further research grant application that may

result in more resources for work with the

manuscripts of the Wordsworth Museum.

Successful partnership working can lead

to more phases of collaboration and

investment as is the case with the Alchemy

Project at The Manchester Museum, where

the resources put into collecting evidence

of impact on visitors and increased quality

meant that a project running between 2003

and 2005 was followed up with a new phase

in 2006.

Partnerships foster more partnerships

It seems that successful partnership and

collaboration fosters more of the same.

A number of case studies illustrated how

partnership had led to one or more new

partners joining the collaboration.

Tate Liverpool has developed relationships

with HEIs across the North West and joint

working is embedded in the organisation’s

core working. There are positive examples

of collaboration building new opportunities

and partners. In Chester the work between

the museum and University resulted in a

three way partnership with Florence’s

Fiesole Art School.

University of Bolton

21

Shared Interest provides evidence that collaboration, partnerships and research

relationships between higher education, museums, galleries and visual arts

organisations is productive and valuable. The quality and depth of research

and knowledge of our culture and heritage can be greatly enhanced by the

meeting of professional minds. The beneficiaries are curators, academics,

students and artists.

The collaborative ventures discussed in this booklet have led to wider public

engagement with research and collections. By working together, the participating

organisations have reached people they could not reach alone.

It is important that partnership is pursued for what can be achieved, not just for

the investment opportunities it creates. That said, collaboration appears to be

a powerful tool in attracting funding and investment to a region. Joint working

across the sectors provides a useful development model in a time of scarcer

resources and should be of interest to all leaders in education and culture.

Concluding remarks

Steve Devine

22

Supporting information

A wide range of literature was reviewed in the research project, and 52 professionals and

academics were consulted. The project was overseen by a steering group with members

from: the Harris Museum and Art Gallery; Arts Council England, North West; Renaissance

North West; North West Universities Association and Manchester Art Gallery.

The following reports are relevant to the

Shared Interest research:

Arts, Enterprise and Excellence: Strategy for Higher Education, (Arts Council England, 2006)This national strategy considers the role

of HEIs in widening and encouraging

participation in the arts through their

support of the arts infrastructure and

creative arts courses.

Beth Christie and Ann Gunn, Sustainable Scottish Collections Network Feasibility Study, (Museums, Galleries and Collections Institute, University of St Andrews, Scottish Funding Council, 2007)This report outlines the findings of this

feasibility study for a sustainable research

network to bring together those working

on Scottish collections from universities,

museums, galleries and heritage agencies.

Peter Dalton and Angela Conyers, Discovering Physical Objects: Meeting Researchers’ Needs, (Research Information Network, 2008 www.rin.ac.uk)This report considers how researchers from

four disciplines (archaeology, art history, earth

sciences, and social and economic history)

can find out about collections and search for

objects in museums and other organisations.

Chris Huxham and Siv Vangen, Managing to Collaborate: the Theory and Practice of Collaborative Advantage, (Routledge, London, 2005)This book aims to provide a one-stop

resource for academics, managers

and students studying or working in

collaborations.

Liverpool Arts Regeneration Consortium, Liverpool Arts and Cultural Sector: Partnerships with Higher Education Institutions, (Impacts 08, 2009)This report concludes that there is substantial

engagement between arts and cultural

organisations in Liverpool and HEIs. There

is however a wealth of opportunity yet to

be explored.

The Contribution of the North West Higher Education Institutions to the Cultural Life in England’s North West, (NWUA, 2005)This report draws together information on

the cultural infrastructure of the North West,

including a comprehensive audit of the

involvement of HEIs in culture through a

range of cultural facilities.

University Museums in the United Kingdom – a National Resource for the 21st Century, (University Museums Group, 2004 www.umg.org.uk)Around 4% of the museum sector consists

of university museums and these 400 or

so museums hold 30% of all Designated

Collections. This research confirms that

these museums offer benefits to the parent

universities in terms of teaching and

collections, and to the wider community

through access and lifelong learning.

23

For further information please contact

Myna TrustramResearch ManagerRenaissance North West0161 235 8849m.trustram@manchester.gov.ukwww.renaissancenw.org.uk

Acknowledgements

Many thanks to Jane Dawson and Abigail

Gilmore for their painstaking research which

forms the basis of Shared Interest and to

Andrew Ormston of RGA Consulting who has

edited their report.

And thanks to all the people who gave their

time and thinking to the research:

Emma Anderson; John Angus; Gordon

Baddeley; Maria Balshaw; Jamie Barnes;

Mike Benbough-Jackson; Dmitri van den

Bersselaar; Piotr Bienkowski; Peter Boughton;

Scott Burns; Monika Buscher; Sally Bushell;

John Byrne; Matthew Constantine; Julie

Crawshaw; Maurice Davies; Sam Davies;

Steve Dixon; Kate Farmery; Peter Fell;

Matthew Gough; Mark Grimshaw; Ann Gunn;

Jonathan Harris; Andrea Hawkins; Lubaina

Himid; Alistair Hudson; Maggie Jackson; Alice

Kettle; Robert Knifton; Helen Rees Leahy;

Nick Mansfield; Aileen McEvoy; Michael

McGregor; Nick Merriman; Richard de

Peyer; Charles Quick; John Renshaw; Simon

Robertshaw; John Sculley; Robert Snape;

Edmund Southworth; Valerie Stevenson;

Fiona Stoddart; Mike Stubbs; Virginia Tandy;

Lindsay Taylor; Alex Walker; Judith Walsh;

Roger Webster; Evelyn Wilson; Alex Woodall.

Renaissance North West

Renaissance in the Regions is the Museums,

Libraries and Archives Council’s (MLA)

national £300 million programme to transform

England’s regional museums. For the first

time ever, investment from central government

is helping regional museums across the

country to raise their standards and deliver

real results in support of education, learning,

community development and economic

regeneration. Renaissance is helping

museums to meet people’s needs and to

change people’s lives.

www.renaissancenw.org.uk

Arts Council England

Arts Council England works to get great art

to everyone by championing, developing and

investing in artistic experiences that enrich

people's lives. As the national development

agency for the arts, the Arts Council supports

a range of artistic activities from theatre

to music, literature to dance, photography

to digital art, and carnival to crafts with an

investment of over £1.6 billion between

2008 and 2011 from the government and

National Lottery. Great art inspires us, brings

us together and teaches us about ourselves,

and the world around us. In short, it makes

life better.

www.artscouncil.org.uk

North West Universities Association

NWUA is the representative body of fourteen

higher education institutions in the North

West of England and within this role NWUA

has two key objectives. Firstly, it provides a

means whereby member institutions may

co-ordinate their regional activities and

identifies opportunities for collaborative

action. Secondly, NWUA facilitates such joint

activities or collaborations within the region

with members and/or non-members, as

agreed by the member institutions.

www.nwua.ac.uk

Image credits from front cover1 2009 Degree Show Exhibition at

the Art and Design Academy at

Liverpool John Moores University

2 Harris Museum & Art Gallery ©

3 University of Liverpool ©

4 Manchester Museum

© The University of Manchester

5 The Whitworth Art Gallery

© The University of Manchester

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Published by Renaissance North West 2009

To help protect the environment, this publication is printed on stock from renewable/sustainable sources using only organic based vegetable inks.