Joseph Wright of Derby Project - Creating a centre of excellence for Joseph Wright, in Derby Authors: Prof Ann Sumner and Chezzy Brownen September ...
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Joseph Wright of Derby Project
Creating a centre of excellence
for Joseph Wright, in Derby
Authors: Prof Ann Sumner and Chezzy Brownen
September 2018
T. +44 7968 583664
chezzy@seachange.ltd
Museums & www.seachange.ltd
Art Collections Sea Change Limited
Consultancy Company Number: 10350909
Company Address:7 Lorton Road
Bristol, BS10 6DG
CONTENTS
Introduction 2
Background 2
Aims of the Project 3
Methodology 4
Opportunities 6
1. Local and Regional Developments 6
2. University of Derby Heritage Hub Opportunities 10
3. Derby Cathedral Re-Development Links 11
4. National Developments and Partnerships with National Museums 12
5. Income Generation 13
6. Links to Industry 14
7. Benchmarking. Single Artist Museums 15
8. Audience Development 15
9. Harnessing the Next Generation 17
Challenges 18
1. Clarifying the organisational approach to Wright 18
2. Finance and Funding 18
3. Staffing 19
4. Silk Mill Focus 19
5. Exhibition Programming 20
6. Audience Development 20
7. Current Display of Joseph Wright Collection 21
8. Longer-Term Masterplanning 22
9. Wayfinding 22
10. Marketing Campaign 23
11. Raised Expectations 23
List of potential options 24
Key Recommendation 29
Recommendations for the next steps 30
Appendices
1. Long List of Potential Options 31
2. Selection of stakeholder comments from the consultations 33
3. Possible funding opportunities 35
About Us 43
Joseph Wright of Derby Project, Derby Museums Trust
Creating a centre of excellence for Joseph Wright, In Derby
Introduction
Derby Museums Trust (DMT) cares for the world’s largest and most varied collection of Joseph Wright of
Derby’s work. They have long held an ambition to realise the potential of this world class collection and to
organise the next major retrospective international touring exhibition of his work. This project looks at
potential options for the collection, and through wide consultation and the support of the Board of Trustees,
devises a short list of options that will be taken forward in this report.
Background
Joseph Wright (1734-97) was an English painter who was born in Derby,
where he was principally active and is widely known as ‘Joseph Wright of
Derby’. He was a painter of landscapes and portraits and was one of the
most original, versatile and accomplished British artists of the 18th
century. He trained under Reynolds’ master Thomas Hudson and made his
name as a portraitist in the Midlands in the 1760s. He began painting
candlelit scenes, showing fascination with unusual lighting effects that was
to run throughout his career. He travelled to Italy in 1773 with the Welsh
artist John Downman, visiting Rome and Naples and drew on the
experience of his tour for the rest of his career. After a brief, unsuccessful
sojourn in the society city of Bath, he returned to his native city of Derby
where he continued to live and work for the remainder of his career and
remains one of the first successful artists to do so outside of London.
Self Portrait, 1753, by Joseph Wright Ó Derby Museums
Joseph Wright is known as a painter of the Enlightenment and many of his most famous paintings depict the
birth of science. He is well known as a painter of light, and darkness, and used these to great effect with his
subjects. His close connection to the Lunar Society fuelled his passion for painting scientific experiments of
the day, but he also painted landscapes, and continued painting portraits throughout his career, many of his
sitters were members of the Lunar Society and wealthy industrialists in the midlands.
Derby Museums Trust is an independent charitable trust set up in in October 2012, and cares for Derby
Museum and Art Gallery, Pickford’s House and the Silk Mill. Derby Museums Trust, in partnership with
Nottingham City Museums and Galleries, joined the Arts Council England’s Major Partner Museums (MPM)
2015-18. This is a group 20 museums or consortia considered to be the leading regional museums in
England.
Derby City Council owns the Joseph Wright collection and it is placed on loan to Derby Museums Trust.
Derby Museum and Art Gallery, previously run by the Council, has been actively collecting Wright’s work
since 1882 and cares for the largest and most comprehensive collection of his work in the world. It has been
a Designated collection of outstanding national significance since 2011, and the Museum and Art Gallery is
an Accredited museum. Almost all of the collection is on display to visitors, 35 out of 38 oil paintings plus the
museums’ archive of over 300 drawings by Wright, alongside manuscripts and secondary resource material,
are available to view in a dedicated Joseph Wright Study Room. The Wright paintings were re-hung in a re-
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furbished gallery in 2014 and the dedicated Study Room was opened in the same year. Since then, a
Memorandum of Understanding with the Tate was agreed, and a major international touring exhibition of
Wright’s work was identified as a possible stepping stone towards achieving many of the Trust’s aims for the
Wright Collection.
The Joseph Wright Steering Group was set up in 2011 with Brian Allen as Chair, with the University of
Nottingham, Tate and British Museum represented. There were no formal terms of reference and they had
no executive powers nor responsibilities. It was small, but well-networked, and it was initially intended to
support a new Derby Museum Trust to develop the collection and a profile-raising campaign. It was intended
too to link into the developments within the Derwent Valley. The ambition to establish a partnership to
stage a major Joseph Wright exhibition in Derby emerged at this time as well as the provision a gallery
worthy of the display of the collection. This was opened in 2014 and was considered an interim measure
with a life-span of 7-10 years. Meanwhile long-term plans would be nurtured to develop Pickford’s House
into a centre for Joseph Wright. It was intended that Research Fellows would be resident at Pickford’s
House, and unfortunately the first one, Dr John Bonehill, was unable to take up the post due ill health, even
though Arts Council funding was in place. The Steering Group was disbanded in 2013.
Derby is a city with a population density of 250,000 with roots dating back to Roman times. It is one of the
birthplaces of the Industrial Revolution, with Lombe’s Mill an early silk throwing factory. The UNESCO
Derwent Valley Mills sites start in Derby, at the Silk Mill, and heads to the north of Derby city. The city grew
rapidly in the 19th century and became a centre of the rail industry. Today it is a centre for advanced
transport manufacturing, home to the second largest aero-engine manufacturer Rolls-Royce and Toyota
have their UK headquarters in Derby. There is a significant contrast in earning potential in the city, which is
home to some of the most specialist highly skilled engineering and IT jobs in the country with corresponding
salaries, whilst at the same time it has areas of significant high deprivation. The need to ‘close the gap’ is an
ambition that the Council has been working on alongside the Derby City Partnership and is embedded in
their Masterplanning for the city.
Joseph Wright of Derby is an internationally known artist; his works appear in collections around the world.
His name is still referenced with the suffix ‘of Derby’, where he worked for most of his career and is a
branding gift for the city of Derby. He punches well above his weight because of his Enlightenment
connections and is well positioned to link to the heart of his home town as his work connects with industry
and science in a way that very few other artists offer.
Aims of the project
The central aim of the project was to carry out an options appraisal to explore the potential routes for
raising the profile of the Joseph Wright collection and that of Derby Museum and Art Gallery. This includes a
better understanding the scholarship of Wright and his life, the long-held ambition to organise an
international exhibition and maintain and develop the Designated status of the Joseph Wright of Derby
collection. This would extend the narrative around its assets, to promote Derby as a city and deliver its Value
Proposition. It is recognised that the outstanding significance of the collection means that there is true
potential to use Joseph Wright of Derby as a catalyst for change within the wider regeneration of Derby.
Derby Museums Trust asked Prof Ann Sumner and Chezzy Brownen from Sea Change Limited as consultants
to help determine the future direction of its work around Joseph Wright of Derby. They wanted to gain a
better understanding of the potential options available to an organisation of their standing and resources,
the best approach to achieve the aim of leading an international programme to enhance the study,
understanding, and recognition of Wright and his work. In order for Derby Museums Trust to realise the full
potential of their unique Joseph Wright of Derby resources, this process through observation and
3
consultations, aimed to provide a framework for developing a series of short, medium and long-term
options, capitalising on current opportunities to move forward positively.
This report recommends developing strategies for delivery, especially through partnership and for long-term
planning. The report takes on board issues relating to the previous raising of expectations and the need to
follow up on initiatives, demonstrating the institution’s commitment to the overall project. It also highlights
the need for the Joseph Wright of Derby Project to be centred at the heart of wider planning within the city
of Derby, most especially city-wide regeneration plans. Care has been taken to ensure that the
recommendations are realistic, fit for purpose and sustainable for the organisation.
Methodology
The options put forward in this report result from desk research, observations made by the consultants and
broad consultation with DMT staff and the Trustee board, plus a wide range of key stakeholders locally,
regionally and nationally. Staff have been extremely positive about the project and some excellent ideas
came through from the facilitated staff workshop, which was held on 23 April 2018.
In addition, numerous one-to-one meetings were arranged with external stakeholders. Overall the response
was positive, but there were some who had been involved with discussion about a touring exhibition over a
period of time, who felt expectations had been raised back in 2011-13 which had not since been followed
through. It was fed back that communication during this intervening period could have been better. For
some more locally, the full potential of the Wright of Derby collections had not previously registered with
them. For others, such as the University of Derby, the possibility of closer collaboration and partnership
working was clear and partnership discussions could begin imminently.
During this project we have consulted with 52 stakeholders.
Derby Museum Trust
Melanie Allen, Visitor Services Assistant, Pickford’s House
Spencer Bailey, Collections Manager
Lucy Bamford, Senior Curator of Art and the Joseph Wright Collection
Tony Butler, Executive Director
Heather Broughton, Trustee, Derby Museums Trust
Pat Coleman, Chair Trustees, Derby Museums Trust
Jenny Cuadrado, Development Manager –Fundraising
Nigel Cooley, Visitor Services Assistant
Oliver Craven, Site Manager –Museum and Art Gallery
Janine Derbyshire, Visitor Services Manager
Matt Edwards, Curator of Visual Art and the Joseph Wright Study Room
Andrea Hadley-Johnson, Co-Production and Engagement Manager
Bill Hindmarsh, Schools Programmer
Julie Hughes, Visitor Services Assistant
Becca King, Visitor Services Assistant
Andrea Mercer, Learning and Access
Sue Jacklin, Business Development Manager
Kathryn Ralls, Lifelong Learning Programmer
Nicola Raybone, Retail and Commercial Supervisor
Katherine Starczewski, Fundraising and Communications Assistant
Jonathan Wallis, Head of Museums
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External
Brian Allen, independent scholar and former Director of Paul Mellon Centre for Studies in British art and
former Chair of the Steering Group
Stella Birks, Visit Derby
Rebecca Blackman, Director of Engagement and Audiences, Arts Council England
Marta Bogna-Drew, Caro Communications
Mike Brown Arts Development Manager, Communities and Place, Derby City Council
Claire Browne, Museum Development Officer and Chair of MDO network, East Midlands
Helen Cooper, National Partnerships Manager, Tate
Jeffrey Cheung, Business Development Director, Caro Communications
Jo Dilley, Director, Marketing Peak District and Derbyshire
Steven Daniels, Professor emeritus, Cultural Geography, Nottingham University
The Duke of Devonshire
Paul Elliott, University of Derby
Cath Feely, University of Derby
Gill Fennell, Community Investment Manager, Rolls Royce
Susan Foister, Deputy Director, National Gallery
John Forkin, Managing Director, Marketing Derby
Mary Hersov, National Programmes, National Gallery
Amanda King, National Programmes, National Gallery
Keith McLay, Pro-Vice-Chancellor/Dean College of Arts, Humanities and Education
Rachel Morris, Diocesan Secretary and Chief Executive, Derby Cathedral Diocesan Board of Finance
Martin Myrone, Lead Curator, pre-1800 Tate
Judith Nesbit, Director of National and International Programmes, Tate
Tom Neuhaus, University of Derby
Wendy Parry, Relationship Manager West Midlands, Arts Council England
Suzanne Ramljak, Exhibitions Curator, American Federation of the Arts (AFA)
Martin Postle, Paul Mellon Centre for Studies in British Art
Mark Rawlinson, Humanities building, University of Nottingham
Greg Smith, Curator and Fellow Paul Mellon Centre for Studies in British Art
Caroline Smith, Learning and Access, National Gallery
Tony Trehy, Director, Bury Art Museum
Toby Watley, Birmingham Museums Trust
Catherine Williams, Regeneration Team Head, Derby Council
Staff workshop, 23 April 2018
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OPPORTUNITIES
1.Local and Regional Developments
There are a number of significant developments which have taken place recently that make this a key
moment for DMT to revive interest in the Joseph Wright of Derby Project.
• The former main library building has been offered to the museum and would form part of the site
for re-development of the Museum and Art Gallery. DMT have just signed the lease for this building.
Derby City Council own the buildings on the site including the Museum and Art Gallery and former
library building.
• Derby City Council have launched the Regeneration Masterplan 2030, which outlines the masterplan
for the regeneration of Derby city centre. It is owned by the Vibrant City Partnership, part of the
Derby Renaissance Board, which has a wide-ranging membership of both public and private
partners. It is designed to maintain momentum on the city centre regeneration by maximising
opportunities whilst tackling persistent challenges. A recognition is that successful city centres are
drivers of the wider economy.
• The rejuvenated Culture and Leisure Board has approved the framework for a new Cultural Strategy
for Derby which needs to be developed and it is clear that the Wright of Derby Project can be
integrated here and play a key role in delivering the priorities.
The former library building, now part of the museum complex, and Museum Square
Positioning Wright of Derby at the heart of Derby City Centre Cultural Regeneration
“Wright’s work belongs in Derby not only because it is a glowing beacon of British art but also because it
preserves the radical spirit of the Lunar Society and reminds us that the Midlands was at the heart of the
European Enlightenment” Jonathan Jones, Guardian 20th June 2016
The Museum and Art Gallery city centre complex is to be enhanced by the addition of the former Library
which presents a major opportunity to redevelop the site with Wright at the heart of the displays. Initial
consultations suggest a high degree of support from external stakeholders for the Joseph Wright of Derby
Project redevelopment project.
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The wider Derby city has a population of 750,000 (living within 30 minutes of the city centre) and the new
development would encourage them to come into the city more in their leisure time to experience Wright’s
legacy in the city. By 2025 Marketing Derby predicts that there will be more residents in the city centre with
increased housing being made available. The time would appear to be opportune in Derby itself to
significantly raise the presence of the Wright Collections and link this to the Economic Growth Strategy,
which aims to achieve a vibrant city centre. The redeveloped Museum and Art Gallery will play a key part in
creating a cutting-edge high-profile cultural destination. It would make a considerable impact in the city
centre which would extend well beyond his paintings and artistic career.
There is a general understanding of the transformative impact Wright’s legacy by many in the city. One has
only to look at the impact of The Hepworth on Wakefield and the region to see what benefits there can be
on focusing on a single artist, as part of place-making and cultural re-generation. The acclaimed Hepworth
gallery opened in 2011 having been planned since 2004 after securing £35 million for the development
project. They won Museum of the Year in 2017. Other cities are inextricably associated with artists, such as
Glasgow which celebrates the famous architect and designer Charles Renee Mackintosh.
The Derby City Partnership was established in 1995 as an alliance of organisations from the public, private,
voluntary and community sectors. There are five Outcome Boards – Children, Families and Learners, Safe
and Stronger Communities, Culture and Leisure, Derby Renaissance Board, Health and Wellbeing. The City
Centre Masterplan sets out a strategic context for investment opportunities in the city in the next 15 years
(2015-2030), demonstrating the Council’s commitment to the regeneration of the city centre. By 2030, this
masterplan aims to leverage £3.5m in investment, create 4,000 new jobs and deliver 1,900 new homes.
It is crucial that any Wright of Derby initiatives are fully integrated into wider city planning linking to the
Masterplan 2030. The masterplan has been conceptualised by the business community in partnership with
Derby City Council, Business and investment partners include Vibrant City Partnership, a sub-group of Derby
Renaissance Board, which has a wide-ranging membership including key organisations and businesses in the
city centre.
The aims of the plan are to ensure the continued regeneration of the city centre into a vibrant place as a City
of Choice, a Business City, a Living City and a Connected City. The Wright Project clearly has a major part to
play in achieving these ambitions.
Derby City Partnership recent relaunch of their Culture and Leisure Board and the significant adoption of a
new Culture Strategic Framework now positions Culture as a key driver to achieve the wider city vision. Their
new Strategic Framework is not about the day to day cultural offer of the city but aims to define the wider
role that culture can play; to re-position culture so that it meets a range of city priorities and it focuses on
Derby City in the long-term, not only the City Council with a four-year life cycle. The priorities are:
• To promote social mobility and tackle inequality
• Invest in our young people
• Improve the infrastructure
• Create a strong and consistent positive message about Derby
Derby Museums Trust is acknowledged as working to create a well-articulated ‘Derby Story’ which will
underpin the development of a stronger city identity, telling the story of the city’s past as a meeting point, a
trading centre, a city of industry, particularly defining what makes it unique. The new Silk Mill will open in
2020 as the new Museum of Making. Clearly Wright of Derby already plays a key role in this story. However,
his profile can be significantly further raised on a local and regional level. The aim to engage and inspire
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communities can be supported by some of the key proposals in this report, such as a year-long programme
of community inspired responses to Wright’s work through literature, dance and art and the annual birthday
celebrations which once established can be a catalyst for local and regional festivities, such as the Jane
Austen Weekend in Bath in September each year. The emergence of a more developed cultural infra-
structure in the City is clearly desirable and will in turn support proposals to embed the Wright story across
the city, in all its complexities and celebrate him appropriately. The Joseph Wright of Derby Project can input
into the Cultural Framework by delivering a vibrant cultural experience for those living, working and visiting
the city.
The redevelopment of the Museum and Art Gallery should be linked into wider city regeneration and be at
the heart of it. It is understood that retail is in decline in the city centre and therefore it is key to invest in
and ensure that cultural/leisure venues thrive. By 2025 there will be many more people living in new homes
and flats in the city itself and the working environment will mean more office spaces in city centre, breathing
new life into the city centre. Currently Derby has a very low worker spend at lunchtime in city centre
because a 50,000 strong workforce is situated on the outskirts of city. The city will be aiming to create an
environment which makes living and working in the city hugely more attractive. The ambitious, bold re-
development of Museum and Art Gallery with the Wright Collection at the heart of displays, will aim to
create a new flagship destination which should attract local and regional residents, as well as a substantial
number of tourists. A clear vision will be required for the newly redeveloped site and a concept for the
dynamic re-display of his works centrally within the museum is required, improving visitor orientation,
supplemented by loans from national collections to contextualise his work. The Wright Study Room should
be located nearby to add depth and contextualisation to the Joseph Wright displays. The courtyard space,
currently known as Museum Square, could be utilised for public art displays, responses to the collection
giving a vibrant addition to the museum offer as well as improving the street presence.
Externally, the creation of a prominent new entrance would be vital, and the library entrance would make a
natural and well-focused main entrance to the museum complex. In the short-term the 1960s building could
be wrapped with big bold Joseph Wright images which would help visitors understand what treasures lie
within and would transform the appearance of the current building. An enhanced retail offer and catering
facilities, to enable evening dining for instance, would also create new income streams and event
management possibilities.
Wayfinding across the city should be improved to create clear orientation for visitors alighting from the train
or driving into the city, with brown cultural signage highlighting easy access routes by foot, public transport
and by car to locate the Museum and Gallery. Beyond the city, the strong links with Visit Peak District and
Derbyshire, already nurtured through The Grand Tour initiative, should be enhanced ensuring that the
Museum and Art Gallery attracts visitors coming to the wider region through
innovative and exciting inter-disciplinary programming. According to Visit Peak
District and Derbyshire and Visit Derby, there are currently 55m visitors a year to the
peak district and yet only 8m a year to Derby itself of which, it is believed, there are
a significant number are business visitors.
It is important for future planning that DMT considers other developments,
particularly the Becket Well development which is on the doorstep. This 1.3 acre
site is being developed by St James’ Securities who masterminded the Electric Press
in Leeds. There will be a signature building on this site, which could for instance
include public art responses to Wright’s work. The developments at the Cathedral
UNESCO Derwent Valley Heritage Site Research Framework
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should also be linked (see below). In addition, there are well advanced plans for the redevelopment of the
Assembly Rooms, which holds a significant site in the centre of the city, and a decision will be taken this
summer as to the way forward for the development. Connecting culture in the region will be vital to its
future and working with the UNESCO Derwent Valley Research Framework and the University of Derby to
create strategic partnerships will be essential to avoid the rather piecemeal approach that has existed to
date.
All of this should be strategically tied into the wider Derby Story, ensuring Wright plays a key part in new
wayfinding developments in the city and place-making. A city-wide integrated approach is required which
will contextualise the Museum and Art Gallery re-development and highlight Wright and his work. Public art
can play an enhanced role here on the outskirts of the city and centrally too, with contemporary temporary
interventions. Land art in the Peak District could for instance, raise awareness of Derby’s Wright story.
Economic modelling will be needed to ascertain what the full potential economic impact would be, and it is
recommended that DMT works with Marketing Derby on this. It is essential that this project is part of an
integrated approach across the city to collectively highlight Wright’s life and work with all partners working
together for collective goals.
This is a transformative opportunity for the Museum and Art Gallery to play a dynamic central role in
creating a cultural destination on the edge of the Peak District, linking up across the city and more widely
across the region tapping into existing vibrant tourism markets. The newly developed Museum and Art
Gallery would ideally open around 2025 launching with a major Wright exhibition curated in collaboration
with Tate/National Gallery and a contemporary interdisciplinary programme celebrating Wright’s heritage
around the STEAM agenda.
DMT has a key opportunity to make the case through the Renaissance Board to the LEP to ensure that they
are fully aware of the broad potential of the Wright of Derby Project to link into city wide developments,
producing a new harmonised approach, creating a unique offer with a clear cultural destination. It is
proposed that a presentation to the Renaissance Board takes place as soon as possible to ensure that they
are aware of the scope of the initiatives recommended short and long term. In addition, our discussions with
Rebecca Blackman from Arts Council England (ACE) indicated that this ‘bid idea’ for Derby around Wright
could be integrated into wider regional developments. Feedback also indicates that ACE Midlands are
extending their thinking around culture for the Midlands Engine. It is vital that ACE are kept fully informed
of thinking around the Joseph Wright of Derby Project and progress. Meeting with them, we were
encouraged that they felt this could be a really major project for the East Midlands and specifically this
unique innovative combination of Art and Science in Wright’s work could have real economic impact. It is
vital that this economic modelling is projected to demonstrate the full potential of a new cultural destination
offer in the city of Derby.
In the current climate, fundraising for a new building could be difficult, although there is more potential to
redevelop the existing Museum and Art Gallery and former library buildings at the heart of the historic
Cultural Quarter of Derby’s city centre. Through discussion with the Heritage Lottery Fund, we understand
that 2018-19 is a transitional year as they move towards publishing a new Strategic Funding Framework and
speaking to the regional office it is clear their focus is the Silk Mill, rather than any longer-term Museum and
Art Gallery project. HLF should not therefore be seen as a potential funder for this Wright inspired
redevelopment at this time. It would be worth engaging with the Department for Digital, Culture, Media and
Sport (DCMS) about the potential of this project and the regeneration and economic benefit it could bring to
Derby. It is clearly vital that a full Feasibility Study is commissioned which considers the benefits of
redeveloping the current site as opposed to building an entirely new site and weighs up the numerous
9benefits of remaining in the current space, and what would happen to the existing site and remaining
collections, if a new building site were found.
Derby City Council recently was unsuccessful in their ACE Cultural Development Funding application. This
fund is open to towns and cities outside of London who want to make the most of culture’s contribution to
their local economy. Had it been successful, it is understood that this might have covered a feasibility study
for the Museum and Art Gallery redevelopment as The Wright, The Wright House or The Wright House of Art
and Science. However, the new redevelopment is branded, it is essential that an inspiring vision is
forthcoming for the project, outlining clearly the full and exciting potential for the project and how it links to
the city’s wider ambitions.
2. University of Derby Heritage Hub Opportunities
At the same time as the Strategic Culture Framework, the University
of Derby has launched a major heritage initiative,
Arts&Culture@Derby with a board consisting of cultural leaders in
the city, chaired by Professor Judith Lammie. This has been passed
by the University Executive but not yet formally launched to the
public. The following strategic aims are outlined:
• Forge successful and inspired collaborations with a range of external organisations and individuals
within the arts and culture sectors and creative industries.
• Co-ordinate and promote the creative and professional achievements of staff, students and the local
community.
• Co-ordinate and promote the University’s civic-mindedness and arts and cultural leadership.
• Contribute to the marketing and promotion of the University of Derby as the destination of choice for
prospective students.
A paper went through the University Executive and the first board meeting is in September this year. DMT’s
Director, Tony Butler, is a member of the new board. The opportunity to work in partnership with the
University through this hub will be substantial.
There will be a dedicated website portal on the University’s website covering Art, Music, Theatre, Dance,
Learning and Word. The website will provide the one-stop shop for the purchase of tickets to all events.
Initially programming will focus on two initiatives, a University Public Lecture series and an inaugural
Professiorial Lecture Series. There will clearly be the opportunity to integrate Wright of Derby into the
Public Lecture Series immediately and later to drive an inter-disciplinary partnership as part of the teaching
of the Enlightenment period through Pickford’s House, considering the proposal to establish a Joseph Wright
of Derby Institute there. This could be a venue to co-ordinate and promote the Joseph Wright of Derby
Project there, maintaining the public spaces but ensuring space is made available for teaching, seminar
rooms, academic and public discussion and debate, potentially basing dedicated Fellows there to carry out
research. Similar examples include the Shakespeare Institute and the Ironbridge Institute. The position of
Pickford’s House in the city makes, within the University Quarter, it entirely appropriate for a collaborative
venture with the University.
Following the official launch of the Heritage Hub it is recommended that partnership options are explored,
and a memorandum of understanding is proposed to cement the partnership with clear goals. There is
much enthusiasm to work with DMT more closely. The University could also support the setting up of a
10dedicated Joseph Wright of Derby Society, similar to those societies for Turner, Romney or Charles Rennie
Mackintosh. They could assist with editorial and content input. Through the Derby Institute of Education
they could assist with the ambition to place Wright on the school national Curriculum, giving every child in
the country the opportunity to learn about his work making the excellent STEAM connections. Academics at
the University would also be available to assist with the writing of a Research Framework around Wright, his
impact and legacy, benchmarking with the Derwent Valley Mills Research Framework published in 2016. The
framework would not intend to be prescriptive but a key tool to facilitate research to advance Wright of
Derby studies linking to the Institute ideas for Pickford House. The University could also assist with the
nurturing of the Senior Curator role, offering access to academic libraries, seminars etc, supporting the
academic side of her work.
3. Derby Cathedral Re-Development Links
Wright was originally buried in the churchyard of the now demolished St Alkmund's Church and his remains
moved to Nottingham Road Cemetery in 1968. His substantial tombstone is now in Derby Cathedral with
minimal interpretation. The Cathedral and Museum and Art Gallery are both sited in the City’s Cathedral
Quarter.
Last year Derby Cathedral launched their ambitious redevelopment
plans to transform the Cathedral, entitled Revealing the Derby Story
Project, removing pews providing new flexible seating, replacing the
1930s concrete floor, refurbishing the Compton organ, offering visitors
an immersive understanding of the history and significance of the
Cathedral, opening up the East End and removing the 1970s extension
and creating a new Visitor Centre which will complement the Silk Mill
development.
Derby Cathedral from Irongate
There is a key opportunity in the planned Visitor Centre and the Cathedral itself, to include enhanced
interpretation of Wright of Derby in acknowledgement of his tombstone and connect across the city. The
Cathedral are putting together a major HLF bid which will be considered in March 2019. They are also
working with the University of Derby on this project, creating opportunities for students.
With the close location of the Cathedral to the Museum and Art Gallery, the opportunity will be key to
ensure that Wright’s story is embedded in their interpretation plans, and that their re-development clearly
links with plans for the Museum and Art Gallery. This is especially important with regard to orientation for
tourists/visitors within the city with an aim to share audiences between the two venues, creating a powerful
Wright of Derby experience. Short and long-term working with the Cathedral could include dedicated
services for Wright’s life and work, immediate improvements to interpretation and launching a city-wide
trail (paper based or potentially an App). This would include all key sites across the City for Wright, such as
the blue plaque on his former home in Queen Street. As with the University there seemed enthusiasm to
work closely with the Museum and Art Gallery on new proposals. The recommendation is to work closely
with the Cathedral to ensure an ambition for an enhanced Wright story is included in their up-coming HLF
bid and that they are fully aware of all plans for the Museum and Art Gallery and the Joseph Wright of Derby
Project.
114. National Developments and Partnerships with National Museums
‘England has a world-class museum sector. Museums play a vital role in the cultural life of the
country. Museums sit at the heart of our towns, cities and communities. They are also our most
successful tourist attractions. Their curators care for collections for all of us now and for future
generations’. Mendoza Report
The Mendoza Review, commissioned in 2016 by DCMS, focusses on the 1,312 Accredited museums,
but does take into account the wider context of approximately 2,600 museums in England and
employing an estimated 33,000 people. Its recommendation for a 'Museums Action Plan' aims to
grow the sector, with DCMS, ACE and HLF asked to demonstrate how they will help museums
improve in nine areas:
• Adapting to today’s funding environment
• Growing and diversifying audiences
• Dynamic collections curation and management
• Contributing to placemaking and local priorities
• Delivering cultural education
• Developing leaders with appropriate skills and diversifying the workforce
• Digital capacity and innovation
• Working internationally.
Its recommendation for a 'Museums Action Plan' aims to grow the sector, with DCMS, ACE and HLF
asked to demonstrate how they will help museums improve in these nine areas. The Mendoza
report references the issues for regional museums in working internationally and the importance of
giving confidence and encouragement to smaller regional museums to participate in such projects.
The Wright Project offers just such opportunities working in partnership with national museums.
Following the review, it is recognised that the nationals are building a new partnership framework to
assist working with regional museums in a more strategic way and across whole museum
departments.
2019 will see the relaunch of the British Art Network by Tate. It offers opportunities for the Wright
of Derby Project to be at the heart of some of Tate Britain’s programming initiatives and staff
development. For instance, positive discussions have taken place over the possibility of a series of
proposed in-focus exhibitions which could be curated in partnership with the Tate as part of their
Spotlight programme on display at Derby and then Tate. The Tate are committed to supporting
Derby Museum and Art Gallery through collaborative projects and their lending programme.
Tate themselves have no plans for a major Wright of Derby exhibition in the foreseeable future, and
their expectation continues to be that if such a major exhibition were to develop it could be led by
Derby with their support. The timing of an exhibition in 2025-6 as a first show for the opening a
newly refurbished Art Gallery and Museum would also work well for them and have said that they
would actively want to support a show in 2025-6 and would welcome the loan request for this.
There are already various Wright loan commitments into 2020-21 but looking beyond that date to
2025-6 is entirely possible for them.
The in-focus shows between now and 2025 also chimes with their thinking. They will ensure that
the profile of Wright is maintained and will explore new and interesting approaches to his work.
They feel that these could be shared between Tate Britain and Derby, something which could bring
works from both collections together and be displayed at both venues (at Tate Britain this might be
in the context of the 'Spotlights' programme). There will probably only be an opportunity to have
one spotlight show between now and the large exhibition in 2025-6, however a series of spotlight
12shows with the Tate could well be developed with an agreed longer-term timeframe as part of the
revisiting MOU discussions.
Alice Insley, who’s PHD explored the themes of Wright and Place, is now a curator at Tate Britain.
The suggestion of a spotlight show is something they feel could begin to be explored immediately to
at least focus on one small show initially. As far as Tate are concerned Alice could start looking at
with Lucy in the coming months and this experience would help develop Lucy’s career as well. A
meeting has been set up at Tate Britain to further explore these developing possibilities and funding
these in-focus displays will be key. It is possible that the in-focus displays or exhibitions could be met
from the Museum and Art Gallery’s annual exhibition budget, although additional funding could be
sought from the Paul Mellon Centre for the series exhibition displays, if there were a significant
research element.
In addition when we met with Martin Postle at the Paul Mellon Centre, he confirmed that he has a
remit which seeks to support regional curators and that Lucy Bamford is very much on his radar. We
suggest working closely with Tate on a series of exhibitions to be held at both venues with potential
publications supported by Paul Mellon Centre which would equip her well for the longer-term task
of curating a major exhibition in 2026. It will be necessary for DMT to explore ways in which her role
can be developed as a Research Curator with the support of national initiatives. It will be necessary
to consider the support that she would need to enable her to curate such exhibitions and potentially
a major international show, as well as planning the new galleries within the new development of the
building. This might well be in the form of an assistant research curator such as the recent one at
Turner Contemporary funded by the Paul Mellon Centre (see recommendations below).
The National Gallery have also said that they would be eager to support a continued ambition for a
major international exhibition to be held at Derby and to support the development of Lucy
Bamford’s career. The National Gallery are developing a National Programme to work with regional
museums and have met with the team at DMT to discuss possibilities. Closer collaborations have
developed since the start of this consultation and on the 3rd September, in honour of the 250th
anniversary of their painting and to celebrate Wright’s birthday, they posted a YouTube video of the
Science Museum’s recreation of the Experiment with a Bird Pump (with a marshmallow).
5. Income Generation
Wright’s paintings lend themselves well to bespoke merchandise. The shop already has a wide range
of attractive postcards, notebooks, mugs and so on. His work could clearly inspire ambitious
commercial partnerships with the production of high-quality scarves, tote bags, cushions, jewellery.
Merchandise could be sold online as well as to other museums with Wright’s work in their
collections. Benchmarking with other museums with a broad range of collections-based
merchandise would be recommended. Lending Wright’s name and images to other local produce
such as a Wright beer (see below) could also be a commercial opportunity.
In line with DMT’s ambition to enhance commercial activity, plans to diversify income streams are
already afoot, with income from commercial activity increasing significantly in the last year, up by
50%. This is a significant achievement. In the plans for the new redevelopment of the building,
income generation will play a significant role and through effective Masterplanning will help to
ensure sustainability for the organisation. Venue hire is an area of growth and has already been
started with the ‘Your Business, Your Museum’ initiative, but it could be developed further. For
instance currently we are aware that many local businesses do not bring their new recruits or
business visitors to the museum at present, but with newly refurbished galleries and distinctive
accessible displays the new Wright would offer a vastly enhanced experience.
13Derby Museums Enterprises currently has a board of two members, and in order to strengthen commercial
activity it is recommended that more board members are recruited with broad merchandising expertise and
experience to capitalise on these opportunities.
The power of Wright’s name, images and potential for income generation should be recognised with the
DMT’s Development Department exploring the potential of a high level membership Patrons group
potentially, The Wright Group, benchmarking with other organisations to see how these are managed and
function and the income stream they produce.
6. Links to Industry
A new emphasis on Art, Industry and Science should attract businesses
to support the redevelopment with a long-term ambition to provide
spaces which will be attractive for receptions and bespoke tours.
Working closely with Marketing Derby is recommended to ensure that
all contacts are maximised, especially if the small Washington National
Gallery of Art exhibition goes ahead, they would be able to assist with
overseas contacts there. Furthermore, when overseas visitors such as
from China visit they should see the Wright as a ‘must see’ destination
and merchandising which would attract them should also be available.
Rolls Royce, Derby
Rolls Royce came to Derby a century ago. Their global workforce is 50,000, and they employ 12,000 in Derby.
Their key business driver is educational outreach as they have identified that there will be a global shortfall
in training and a well-trained workforce this is key to the future of their business. In Derby they have a
centre of excellence, and an annual graduate intake of 400-500, all of whom spend a year in Derby. They are
keen to recruit locally too if at all possible, and also want to entice these visitors from around the world to
stay locally and live in Derby. This means that they have a vested interest in the regeneration of Derby and of
helping to make it a true Destination City.
Rolls Royce has a strong affiliation with Derby and are keen embed themselves within the community. They
are well connected with DMT already and are actively engaged with the Silk Mill with the new Museum of
Making. There is real potential for making international connections with STEAM/STEM outreach and of
using Joseph Wright as the ‘poster boy’. Rolls Royce is global, and there are significant opportunities to link
into their training on a worldwide level, such delivering STEAM outreach in India or China but based in Derby
as its home, linking to an on-line catalogue of Wright’s works. Building on the success of the STEM
Ambassadors programme developed in collaboration with Rolls Royce, would encourage future generations
to recognise the important of Wright and his achievements. Equally the building on the co-production
partnership for the Museum of Making at the Silk Mill, Rolls Royce will play an active part in co-curating
aspects of the new displays in the redeveloped Museum and Art Gallery. Links with other industries based in
Derby should also be enhanced such as with Bombardier, the global aerospace, defence and railway
company with its site at Litchchurch Lane.
147. Benchmarking. Single Artist Museums
Single artist museums tend to be an individual as the artists they
celebrate. There are differences and similarities of course. Some
take the form of opening as house or studio museums, which
provide a strong evocative experience as well as a sense of
pilgrimage. Other single-artist museums have premises that often
don’t necessarily relate to the life of the artist but have a connection
through sense of place, which can be equally powerful to the visitor.
The Hepworth Wakefield
Some of these museums, such The Hepworth Wakefield, contain other collections too despite the use of the
single artist name. It would be useful for the Trustees and key senior management team staff to benchmark
with some similar museums for inspiration in the development of Masterplanning and this is a
recommendation of this report (see below). This is a key moment to assess, with trustees and staff at The
Hepworth Wakefield, the success of their project seven years after opening in 2011, and the success of
museum of the year in 2017, as well as observing recent developments at Gainsborough’s House. It is
particularly important that the sense of place in Derby is emphasised in the future and various tools can be
employed such as simple trails (see recommendation below).
Other examples of some other single-artist museums which could be inspirational:
Andy Warhol Museum, Pittsburgh, Pennsylvania
Barbara Hepworth Museum and Sculpture Garden St Ives
Clyfford Still Museum, Denver, Colorado
Gainsborough’s House, Sudbury
The Hepworth Wakefield
Henry Moore Studios and Garden, Perry Green
Miro, Fundació Joan Miró, Barcelona, Spain
Musée Rodin, Paris
Sorolla Museum, Madrid
Turner Contemporary, Margate
Van Gogh Museum, Amsterdam
Watts Gallery, Surrey
8. Audience Development
The Arts Council advocates that the ‘arts have the power to change lives and communities and that outdoor
arts of all types have a particular ability to engage, inform and entertain audiences that might not otherwise
attend an arts event’. The opportunity to broaden audience development and engagement with Wright is
significant.
At around 120,000 visitors per annum (70% to the Museum and Art Gallery) and an average dwell time of
just over an hour, Derby Museums lacks the kind of scale to support long visits that would be able to justify
entry fees that would create significant income for DMT. We believe there is a major opportunity to increase
visitor numbers and diversify audiences with the redisplay of the Wright collection; integrating displays
across the sites with key themes and an energised learning programme. This might include artists and
15writers in residence and contemporary responses to his work, linking into broader existing and established
audiences such as for the FORMAT festival and the Book Festival, working in partnership.
DMT has pioneered community co-curating at all of its sites, using a Human Centred Design approach, and
they have a network of Young Co-producers who are actively engaged with museum projects. It might well
be possible to suggest to a national partner, such as the Tate, that the young co-producers curate one of the
in-focus exhibitions proposed. There is also potential to explore Wright’s mental health issues and to work
with charities and health professionals in this field and link specifically with Museums Wellbeing Week.
Projects Labs were developed last year by the Museum and Art Gallery to find out what visitors might like to
know about Wright and how to connect with the man behind the paintings. They also explored how people
felt pride in this artist who was recognised internationally. The overwhelming positive response was that
people wanted to find out more about him as a person. Immediate action could be taken to ensure that
Wright’s birthday is celebrated on the 3rd September in populist manner encouraging costume wearing and
role-playing with street banners to raise awareness with road-users. The introduction of a simple trail with
identifiable landmarks could be launched on this date, available as an App or in printed form. In addition
there might also be an annual academic lecture supported by the University of Derby. In the same month at
the Derby Beer convention 2019, a new Wright Beer could be potentially launched, as suggested above, with
themed beer mats to carry through the birthday celebration and raise the profile of the artist throughout
the city and region. A partnership with Derby Brewing Company could be explored. All such activity would
raise awareness within the local community who would then be encouraged into the museum through
innovative programming.
We believe there is considerable potential to build upon current successes with the learning programme,
including the Derby Story and the Grand Tour partnership, and to promote more emphasis on wellbeing
around the benefits of art and landscape within the region. This could specifically occur in the context of
exploring Wright’s mental health and the benefits he gained from exploring the landscape-art and wellbeing
walks could be arranged for instance. The opportunities to work with wider audiences, with a focus on
Derby’s diverse communities, who have been identified as non-users, are considerable. This might take the
form of dance responses exploring aspects of Wright’s work with Asian communities, such as Surtal Arts
based in Derby, perhaps benchmarking with the work of Sampad in Birmingham and SAA-UK in Leeds. There
are opportunities to link in with the successful Derby Book Festival, in June, potentially by appointing a
writer or poet in residence, such as Helen Mort, the former Poet Laurate of Derbyshire. Similarly, links
should be made with the Format Photography Festival, which has true international reach to build audiences
widely.
Clearly there is a need for champions who are particularly enthusiastic about Joseph Wright and could prove
great assets to the project. These should be identified on a local, regional and national level. Longer-term
engagement with champions should be developed throughout the project to ensure a solid base for support
for the future of the project.
16Some examples of community engagement. SAA-UK performance responding to Quentin Bell sculpture The Dreamer during Leeds Light Night 2016,
and Helen Mort reading her poem responding to the work of Mitzi Cunliffe which has been included in a street art work response by Sue Lawty in
Leeds,2017.Both projects supported by Arts Council funding.
9. Harnessing the Next Generation
Wright and the STEAM agenda are a perfect match. A concerted effort with the support of the University of
Derby will result in Wright being included on the national curriculum. Every child will learn about Wright’s
pioneering approach and his love of combining art and science. The ambition is that DMT should link with
local (University of Derby) as well as regional fine art degree students and emerging artists working
regionally to support exhibition opportunities and artist residences with innovative installations. The
education department at Derby already works with the University of Derby PGCE course providing a tour and
embedding Wright of Derby in their thinking. Further opportunity for partnership working could be made
with Nottingham University, in particular with their Engineering Department.
DMT are also working with the National Gallery on their Take One Picture programme. This successful
programme has resulted in numerous primary schools across London responding to Wright’s Experiment
with an Air Pump, for example Alexander Primary School in Wood Green.
The STEM Ambassadors programme is a collaboration between DMT and Rolls Royce, where volunteers from
their Graduate Programme go out and work on projects with the local community. Recently they undertook
a project looking at Joseph Wright and exploring the science behind paint. This was then turned into a
workshop that was delivered by DMT’s Learning and Access Team and was aimed at children and school
groups.
The suggested overall approach to Wright will support placemaking and wellbeing for the next generation
and should provide spaces and opportunities for debate and discussion across diverse audiences.
17CHALLENGES
We recognise that there are numerous challenges which DMT face and have a potential impact upon moving
the Wright of Derby Project forward and orientating it centre stage in strategic planning for the organisation.
1. Clarifying the organisational approach to Wright, with a clear vision and memorable strapline will assist
with its profile and fundraising. This should be reinforced throughout the city and beyond reflecting the clear
aims and this might potentially involve a revision of the Know Your Wrights ambition in the current DMT
Business Plan.
2. Finance and Funding
Derby Museums Trust took over the operations of Derby City Council’s Museum Service in October 2012.
The Trust was underpinned by a three-year funding agreement from Derby City and the Arts Council. At this
time the Museums Service’s capacity to earn income was poor and the new Trust set itself ambitious targets
for revenue generation which by 2014-15 would constitute nearly 10% of its income. By the end of March
2017 the picture was looking brighter, visitor numbers are up to 124k (up by 10% on the previous year),
Derby Museums Enterprises increased its profit by 57% to £59k and commercial income from all venues
totalled £110k, up by 50%. It is currently supported financially by the Arts Council NPO funding (currently
£393k), Derby City Council (currently £965k), plus income from trading, grants, trusts and donations. Derby
Council are unlikely to continue funding DMT indefinitely and have said that they will significantly reduce
their level funding support over the next few years.
Financially the model is relatively simple with income from a small number of sources and a relatively
small, though growing, proportion from retail and commercial activity. Costs are also relatively
straightforward with a large proportion of expenditure on staffing, through which much of the key activities
are delivered. The freedom from local authority restrictions, since 2012, has meant Derby Museums can
spread its risk and develop more diverse income streams.
DMT has recently received an impressive HLF grant for the Silk Mill. Through discussions with HLF at a
regional level, it has been indicated that it is unlikely that they support another bid for HLF funding
immediately in Derby. The Cathedral is in the process of applying for HLF funding for their redevelopment
project, so looking to HLF for further funding might be an issue. Alternative sources of funding will have to
be sought. Some existing donors may be exhausted from the recent Silk Mill and Endowment drives for
funding. It takes on average three years to build relationships with individual funders, so work to nurture
relationships needs to start immediately.
DMT needs that Vision and Strategy for what can be achieved for the site and how Wright’s story can be told
anew with his paintings at the heart of a much wider Science/Literature interpretation, linking with the new
Silk Mill Project and the potential for Pickford’s House. Once the concepts are established and tested, and
the development itself is fully costed, then a Funding Strategy must be worked up with a detailed Project
Development Plan.
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