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| Nottingham Contemporary Director Alex Farquharson - photo by David Baird |
Nottingham Contemporary is all things to all people; a long-overdue and crucial addition to the city’s cultural landscape, a massive threat to the local independent arts scene, the coolest date venue in town, the building that’ll catapult Notts into the UK artistic Big League, a colossal waste of money... and it’s not even open yet. That’ll all change in November, so our Art Editor breached the shipping container towers and pinned down Director Alex Farquharson…
Traditional factory towns like Nottingham are notoriously suspicious of art in general, and a lot of people have already cast aspersions on Nottingham Contemporary...
Your point about post-industrial cities is valid, but it’s not Saturday Night and Sunday Morning anymore; where there were factories, there are now business parks and the big employers are service industries. There are people who will take quite quickly to something like Nottingham Contemporary and those who may be harder to persuade. But we’re going all-out to be as inclusive as possible; to make it really clear that Nottingham Contemporary is for everyone. Everyone’s invited, everyone’s welcome - and it’s free, so people have got nothing to lose. It’s right in the centre of town, so it puts art, contemporary art in particular, right at the heart of the city.
How are you going to win over people who think it’s a waste of public money?
It’s been estimated that Nottingham Contemporary will generate £1 million for the city just from day visits in our first exhibition season. So it’s an investment rather than a cost. Obviously we all know that these are difficult times financially - but on a much larger scale, as politicians have proven, you need to invest just to get out of these situations. So I’m convinced that we’ll represent very good value for money, even for people who aren’t very culturally engaged right now.
So who’s actually paying for all this?
The major funders are the Arts Council and Nottingham City Council, with EMDA and ERDF as our capital funders, two European sources and a private donor. In terms of our revenuee, it’s Arts Council, City Council and the rest we need to raise. We’ve got the universities supporting us in our public programme, but over half our income is from the Arts Council. So the main sources of funding are national.
And how will Nottingham Contemporary sustain itself?
We don’t know, in the same way that every cultural organisation that is publicly funded doesn’t know. There could be a change of government in April, but I hope that whoever is in power doesn’t see the arts as a kind of easy populist target to cut funds from. It’d be a drop in the ocean, and a very poor investment, given that the last few years have seen some great investments in buildings. Maybe that’s coming to an end, so it’s time to ensure that they are sufficiently funded going forward - because a relatively small cut in the arts is disastrous. They tend to be very ergonomic organisations with small teams, so if you cut 20%, there’s a risk that you actually cut 50% of the funding going towards what it’s for - the activity, the art, the education and the audience-building. It makes very little financial sense to cut arts funding; it’s a very small part of our national expenditure and contributes to all the other primary sectors, such as education and economic regeneration of cities.
Do we really need a gallery this big here? Is it a case of ‘Newcastle and Liverpool’s got one, so we need one too?’
This begs the question ‘Why not Nottingham?’ There are lots of reasons why Nottingham should have a major contemporary art centre. Audience data shows that Nottingham apparently per head has the largest cultural audience in the UK, and there’s a large appetite for culture here. There are also a lot more students per head than any other city, particularly from Nottingham Trent and its Fine Art course. I think there is a demand, and I think that Nottingham is important enough to merit it. Throughout the sixties, seventies and eighties it had the very best contemporary art centre outside of London – the Midland Group, which left quite a legacy. Nottingham has had it before - so why can’t it have it again?
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| Nottingham Contemporary Director Alex Farquharson - photo by David Baird |
Most new galleries have taken over old buildings and restored them - so why was Nottingham Contemporary built from the ground up?
It’s not necessarily cheaper to restore or renovate or add to old buildings; sometimes it can be the reverse. And while I think some of those projects are exciting, it’s certainly not the only way to go. This is an opportunity for a new piece of architecture that is visionary and forward-looking; a legacy for the future. It would be a bit odd if we looked back to the 19th Century and found that the major architectural achievements were renovations of 17th Century buildings. It’s important, for culture in general, that each epoch leaves its trace, its monuments and its achievements. I think it’s great that Nottingham City Council are a developer of new buildings for Nottingham.
So is the green lace exterior on the building built to last?
It’s concrete, it’s hardy! I’m not a builder - I don’t know what it will be like in 200 years time. Maybe it will have its lasting moments, like carved stonework in medieval buildings. Or maybe buildings shouldn’t last that long anyway. Maybe we could have moved to another planet in 200 years time.
What kind of art can we expect to see at Nottingham Contemporary?
First off, there are going to be all kinds of educational activities for all kinds of different groups - young people, students and so on - in what we are calling The Space, because anything can happen there. It’s our biggest room, it has a light and sound system, for the benefit of other arts organisations, artists and performers to do their own activities. Essentially we’ll be acting as a host there and giving platforms for others in the city. For our first season, which is contemporary art-focused, we’ll be showing paintings, drawing and collage. In the second season there’ll be an exhibition called Star City, with installations, performances and sculpture as well as painting, photography and so on. Our programmes will cover the full range of media that artists use today.
Where do you think Nottingham currently stands in the global and British art worlds?
Nationally, there’s a big buzz around Nottingham, and I think that that has as much to do with the artist-led scene as it has to do with new centres like ours. Also, there is great international anticipation around Nottingham Contemporary - I know because I hear it and I get invited to talk about it in far-flung places. It’s like a wave rising, and Nottingham Contemporary opening is like the final big piece in the jigsaw. The British Art Show opening in Nottingham a year into our opening will really consolidate it. So the time to really ask this question will be in two years.
Nottingham has never had so many visible art collectives and artists as it does today, but isn’t there a risk they’ll be completely overshadowed now? Will you be reaching out to them?
Many of them are already involved - quite literally, as we employ a lot of them to work with artists to make installations and so on. But one of the many things we can do is act as a kind of signpost; Nottingham Contemporary will be the first port of call for much of the audience for visual art - as we’re so big and so central, especially for people who have travelled to Nottingham - so one of the things we want to do is to direct our audience to what other people are doing and that includes the artist-run initiatives, some of which are just down the road in Sneinton. I think it’s going to be a very symbiotic and mutually beneficial relationship.
How can we as a city enable local artists to prosper on a national and international scale without losing them to larger cities?
We can’t provide all the answers for that; it’s up to the individual artist and the work they make. But I do think that Nottingham Contemporary will contribute to an environment that encourages artists to stay here. It’s very important that Nottingham isn’t just a big fish in a small pond, because the danger is that there is nothing beyond the pond - that it is inward looking and insular. We need a scene that looks to the outside world, so I think its important that artists are moving in and out of the city. We’ve lost some really interesting artists of late, but I’m sure that there are some new and just as interesting ones coming through the ranks. I’m sure it will always be replenished. And I’ve noticed that people who move away often come back and don’t seem to put their connections with Nottingham altogether.
Nottingham Trent run some of the best art courses in the country. Will you be working with them?
Our relationship is already close. We have collaborated already with aspects of our programme last year on talks and so on. Both universities are partners in our public programme and some of the main aspects of this programme – talks, events, screenings, art related education activity – is specifically addressing the student body. If any single area is going to benefit, it will inevitably be Fine Art courses, but in a city this size we can also afford to build networks across different artforms and across different
areas of knowledge. I also want Nottingham Contemporary to become a really good social space, especially for students.
Where will Nottingham Contemporary be in five years time?
I hope that within even two years time we’ll be really popular locally and respected internationally. In five years time I would like people in Nottingham to think that we are an invaluable part of the cultural and social life of the city. I’d like people to be really proud of Nottingham Contemporary and feel that it’s theirs, their cultural home.
If you personally could put on an exhibition from anyone alive or dead at Nottingham Contemporary, who would it be?
In terms of historic artists, there are two that I love; Odilon Redon, whose work is really magical, and James Ensor. They are both painters, print makers, around the time of impressionism and have very rich imaginary worlds. For more recent artists, I think super-important figures are Robert Smithson - a utopian artist - and then Mike Kelley. They would be dream shows and on another level - and very hard to finance. Maybe that gives you a sense of some of my motivations.
What’s your favourite gallery outside of Nottingham?
One of the most beautiful I’ve been to is the Menil Museum in Houston - it’s based on a private collection of astonishing quality and breadth, equalling the best national museums. It’s presented incredibly beautifully, the building is amazing, the quality of work is incredible and there’s a real personality to the collection. For a more cutting-edge museum of contemporary art, I think the Vanabbe Museum in Eindhoven is super-interesting - very provocative and very lively in the way it represents its collection. The more idiosyncratic museums, would be the John Soane Museum in London - which is kind of nuts, a real cabinet of curiosities - and the Gustave Moreau Museum in Paris, which is equally bonkers but quite different.
How much for a pint of beer and a coffee in the cafe? And will there be free refills?
Not of beer! I don’t know yet, to be honest. But in terms of prices, we’ll make sure it’s competitive, especially on beer. We want the café to be good and inclusive.
Nottingham Contemporary opens on Saturday 14 November.
nottinghamcontemporary.org
Piccie Centre
Write Commentby New Jersey Manufacturers Insurance Co. Nov 10, 2009, 01:37:28 pmReally looking forward to this. After such a long build up (here's LL's first article about it, way back in issue 3 of the mag) it's kinda weird to think it's actually opening this week.
Interesting interview this. I think he does a good job of dealing with a lot of the criticisms people have made of the project so far, what do you reckon?
by Metal Monkey Nov 10, 2009, 03:01:13 pmI'm excited, so going to make a trip down next week. Woop!QuoteBuilding in the Lace Market is set to start in summer 2006, with the centre opening its doors to an expected half a million visitors a year from early 2008. The organisation will employ around 200 staff. All things considered, a bonus for the city.
I love over optimistic opening dates. Still, better to get it right than on time, eh?
by Jared Nov 10, 2009, 03:40:59 pmbetter to get it right than on time, eh?
Better still, get it riiiiiddd on time....
And yeah, i'm looking forward to it too! Can't wait to catch a bit of Hockney in Hockley.
by New Jersey Manufacturers Insurance Co. Nov 10, 2009, 04:24:59 pmI'm excited,
Me too! Reading my post back, I think it comes across as quite ambivalent about the whole thing. For the record, I'm totally not!
by Samyouwell Nov 10, 2009, 05:20:39 pmI've got such mixed feelings about this project. Being an avid art lover and having always thought that Nottingham needs a good gallery I find it a little confusing that I am filled with scepticism. I think its probably down to the uber corruption that governs the worlds contemporary art market, especially in Britain.
I wonder how much good it will actually do for local artists. It feels a bit like the X Factor of the art world at the moment but I am totally open to my expectations/prejudices being challenged!!
I am looking forward to seeing some great exhibitions but am not looking forward to the elitist exclusivity that comes with such a venue. Art, like the music industry in my opinion has been taken over by big buisness and with it an immoral approach to profit.
by New Jersey Manufacturers Insurance Co. Nov 10, 2009, 06:06:46 pmI wonder how much good it will actually do for local artists.It's employing quite a few of them directly, so there's that. It's also going to bring an art-loving audience to the city, and Nottingham Contemporary have said they definitely want to use their position to help promote local art activity to their visitors. It also means that local artists (as well as everyone else who lives here) will be able to see top-notch international art on their doorsteps and attend talks and events with top-notch international artists, critics and writers.
NC as an organisation seems genuinely to want to be a fully plugged-in part of the existing Notts arts scene, and half the staff already were fully plugged in to that scene before they got jobs there. What it won't do is tokenistically devote swathes of gallery space to Notts-based artists all the time but then, why should it?It feels a bit like the X Factor of the art worldDon't get this. Is it a Jedward reference?I am looking forward to seeing some great exhibitions but am not looking forward to the elitist exclusivity that comes with such a venue.This might happen, it might not. I don't think it's a foregone conclusion though, and I know they don't want it to be elitist and exclusive. You seem to think it is already written. Why is that?
ps - not trying to have a go. Obviously, I have a particular viewpoint on this, but I'm interested in the discussion.
by Samyouwell Nov 10, 2009, 06:38:02 pmI wonder how much good it will actually do for local artists.It's employing quite a few of them directly, so there's that.What it won't do is tokenistically devote swathes of gallery space to Notts-based artists all the time but then, why should it?
You missed my point here. I didnt suggest that they give the gallery to Nottingham artists. I am makng a comment on how the international contemporary art scene is elitist and exclusive to those already within the culture. This is generally upheld by what is shown at galleries such as the one to open in Nottingham.[It feels a bit like the X Factor of the art worldDon't get this. Is it a Jedward reference?
No Im sayingthat the X factor does the exact opposite of what it pretends to. It doesnt bring out the 'X' factor, it shapes people into what the producers of X Factor want ie generic pop. The phrase 'x factor' used to suggest somebody has something special born out of their own creative spark, not manipulated into the generic. I am suggesting that the contemporary art market is very much like this.I am looking forward to seeing some great exhibitions but am not looking forward to the elitist exclusivity that comes with such a venue.This might happen, it might not. I don't think it's a foregone conclusion though, and I know they don't want it to be elitist and exclusive. You seem to think it is already written. Why is that?
No. You seem to think that I think it is already written. Why have you not quoted the point I made...I am totally open to my expectations/prejudices being challenged!!
My comments are my feelings about the international contemporary art market/culture and my fears that Nottingham will become just another part of this culture.
My opinions/fears are highlighted by the ongoing criminal investigations into several contemporary artists such Damien Hurst and his associates with regards the corruption, price fixing, false accounting etc etc. This is very serious in my opinion and affects the whole of the contemporary art culture. What this has done is falsly increased the value of some contemporary artists work and devalued other artists work.
by Jared Nov 14, 2009, 03:15:24 pmIt's officially open now. Anyone been in yet?
by New Jersey Manufacturers Insurance Co. Nov 14, 2009, 05:07:37 pm@Samyouwell - OK. I didn't realise you weren't really taliking about Notts.
Some loose observations:My comments are my feelings about the international contemporary art market/culture and my fears that Nottingham will become just another part of this culture.Nottingham already was part of that culture. Now it is a more important part of that culture becuase of a new, world-class facility.
- If you don't like any international contemporary art because you think it's all all manipulated and generic, then that's fine, of course. You must be quite hard to please though.
- Corruption exists in everything. Fight corruption where you see it, sure, but I'm not sure the whole international art scene is so riddled with corruption that it makes any extension of it, eg Nottingham Contemporary, worthless on a point of general principle.
- I didn't quote the bit about you being open to having your prejudices challenged because it didn't seem relevant to your assertion that elitist exclusivity was inevitable. That might well be one of the prejudices that you're looking forward to challenging, but it sounds like you haven't really started that process yet.
- Prices for some artists' work is always going to be artificially inflated. The art market is susceptible to fashion trends just as much as the antique books market or the housing market or the rare records market or, indeed, the fashion market. This isn't a particularly bad thing as long as curators and people in charge of institutions and new emerging artists and etc etc are influenced by things other than fashion as well.
by New Jersey Manufacturers Insurance Co. Nov 14, 2009, 05:16:53 pmIt's officially open now. Anyone been in yet?
Yes, I went last night. It is awesome. Didn't get a particularly good look at the shows, though they seem very nicely laid out and well worth going back to see, but the building is definitely incredible. And well worth the money too.
by Samyouwell Nov 16, 2009, 09:36:33 am@Samyouwell - OK. I didn't realise you weren't really taliking about Notts.
Some loose observations:My comments are my feelings about the international contemporary art market/culture and my fears that Nottingham will become just another part of this culture.Nottingham already was part of that culture. Now it is a more important part of that culture becuase of a new, world-class facility.
- If you don't like any international contemporary art because you think it's all all manipulated and generic, then that's fine, of course. You must be quite hard to please though.
- Corruption exists in everything. Fight corruption where you see it, sure, but I'm not sure the whole international art scene is so riddled with corruption that it makes any extension of it, eg Nottingham Contemporary, worthless on a point of general principle.
- I didn't quote the bit about you being open to having your prejudices challenged because it didn't seem relevant to your assertion that elitist exclusivity was inevitable. That might well be one of the prejudices that you're looking forward to challenging, but it sounds like you haven't really started that process yet.
- Prices for some artists' work is always going to be artificially inflated. The art market is susceptible to fashion trends just as much as the antique books market or the housing market or the rare records market or, indeed, the fashion market. This isn't a particularly bad thing as long as curators and people in charge of institutions and new emerging artists and etc etc are influenced by things other than fashion as well.
I do like some contemporary art, dont put words into my mouth. Corruption doesnt exist in everything. You seem to think that if it did that would make it ok. I don't think that just because something happens rthat it is then ok. Your arguamnet here could be applied to anything, murder, genocide, marmite, shit pop music etc etc.
Your tone in the post made me feel like I was being told of by an all knowing art empreasrio. My opinions remain. The contemporary art culture is rotten to the core which stops some of the best contemporary art from making it to the top. You seem to be ok with this situation. I am not. I will go and see the new space we have provided for us and will enjoy some of it I am sure.
by New Jersey Manufacturers Insurance Co. Nov 16, 2009, 10:49:07 amI didn't say you don't like any contempoarary art, I said 'If you don't like any international contemporary art because...'
I didn't say that just because something happens it is okay.
Please don't put words into my mouth.
I'm sorry the tone of my post came across as patronising. That wasn't my intention. I was just trying to express my opinions too.
I think we are in danger of dragging this thread down to the level of a spat. It would be more interesting (for me at least, probably for other people too) to read what people think of Nottingham Contemporary once they have visited, rather than for the two of us to argue the toss over levels of corruption in the international art market.
by Samyouwell Nov 16, 2009, 10:59:19 amI'm on my way down there now so I'll report back what I find later...
by Samyouwell Nov 16, 2009, 01:11:09 pmWell nothing to report as the galleries are closed on Mondays...
This did give me a chance to have a look at the building and maybe its been built up in my head by all the hype but I found it to be quite boaring. I like the lace inprints but apart from that it didnt impress me as a structure.
Its a shame with so many buildings in need of repair that none were regenerated instead of building this (which also took away some lovely innercity green space).
by Metal Monkey Nov 16, 2009, 08:02:45 pmHa ha, me and Ash D did the same thing - rocked up this morning and found out it's very Parisian and not open on Mondays - oops. I will make another trip in the week. Good to see they're stocking some Jon Burgerman in their shop though and am still excited about having a nosey around.
quote author=Samyouwell link=topic=20276.msg222818#msg222818 date=1258377069]
This did give me a chance to have a look at the building and maybe its been built up in my head by all the hype but I found it to be quite boaring. I like the lace inprints but apart from that it didnt impress me as a structure.
Its a shame with so many buildings in need of repair that none were regenerated instead of building this (which also took away some lovely innercity green space).
[/quote]
I'm not a big fan of the building either: I think it looks like a large portacabin that's a bit mucky (the lace print...), I don't think it fits that well with the surrounding buildings and am wondering how it's going to fare with time. Still, it's what's on the inside that counts I've been told...
by theonelikethe Nov 16, 2009, 10:08:25 pmwhy don't any of you people have jobs an that? trying to swan about galleries on a monday, i'm glad it was closed
by Daysleeper Nov 16, 2009, 11:02:36 pmI see that they are doing lunch time talks every wednesday for a while. Hopefully I can get to one of these during my lunch break as they are only 45mins - I'm looking forward to checking the place out!
by New Jersey Manufacturers Insurance Co. Nov 16, 2009, 11:13:43 pmIt's quite common for galleries to be shut on Mondays. Didn't realise that Nottingham Contemporary was though, and it's a bit crap that it is.
by Metal Monkey Nov 17, 2009, 10:48:21 amwhy don't any of you people have jobs an that? trying to swan about galleries on a monday, i'm glad it was closed
Have you noticed Britain's in the middle of a recession? We can't all have jobs that pay us to be the highest poster on a forum.
by Samyouwell Nov 17, 2009, 02:20:21 pmWell I've just been down to have a look. I went with an open mind and heart.
I really want to say wow, amazing, great , it blew me away but I can't.
I feal thoroughly underwhlemed. Where to begin I don't realy know. When I arrived there was a group of what looked like art students outside talking. I was in the middle of writing a text so I stood outsie for a couple of minutes. the group of students had been in to the gallery and were discussing it. The first comment I heard was 'what a load of shit' somebody replied by saying ' yeah, theres nothing in there'. Somebody else then said 'what a waste of space' somebody replied 'and time and money and energy'.
Not wanting to be swayed too much by their opinions I went inside for a look. I have seen David Hockneys work before and I love his stuff. I enjoyed seeing his work but all the time I was viewing it I was very aware of how uncomfortable it looked in the space. I then looked at the space and I just thought it was very very uninspired. Ok its a gallery and its white like most galleries but the shape of the rooms and the lighting leave a lot to be desired.
I then had a look at Frances Starks exhibition. I'm no art critic but I know what i like. I like to be moved, affected, inspired by exhibitions. This did none of those things. I know this is taste so I can accept that not everyone likes everything but I just though it was boaring, especially next to David Hockney. No contrast. Also whilst looking at the work I saw a group of school choldren in the gallery. One of them ripped a bit of paper off one of the pieces!!
Next I wondered around the rest of the gallery I have to say I am not happy with the space. Visually uninteresting both inside and out. I am used to ghoing to comtemporary galleries and the gallery being as inspirational as the exhibitions. This fails miserably. It looks wrong in the surroundings. It only stands out because of the strength of the architecture around it rather than the strength of itself. It looks in my opinion like a load of corrugated platic and metal sticking out of the ground.
All in all I am still open minded but I wanted my mind to be blown...
Here are some examples of mind blowing contemporary galleries I have visited to put it into perspective of my expectations...
guggenheim bilbao
Shanghai oriental Atr Gallery & Science museum...
Tate Modern
by theonelikethe Nov 17, 2009, 02:39:21 pmwhy don't any of you people have jobs an that? trying to swan about galleries on a monday, i'm glad it was closed
Have you noticed Britain's in the middle of a recession? We can't all have jobs that pay us to be the highest poster on a forum.
sometimes i forget how lucky i am
by robcutforth Nov 17, 2009, 03:27:33 pmI haven't been in yet, but I just can't get used to how ugly it is from the outside.
I really really really want to like this building but the green and brass really doesn't do it for me... it looks dated already and it's just opened!
I will say I am glad it's there (the city needs more cool shit) and I'm glad as fuck it's not a Gehry building (the world needs another one of those like I need a spike in my dick), but as far as the aesthetics of the building are concerned, I pretty much hate it.
I can only hope it grows on me. Like a big green, lacey fungus.
by theonelikethe Nov 17, 2009, 03:41:55 pmguggenheim bilbao
Shanghai oriental Atr Gallery & Science museum...
Tate Modern
this is my favourite:
you can lie down over the black windows and look into the sea
by Beane Nov 17, 2009, 03:45:54 pmHopefully gonna get down there this week. Anyone catch the Culture Show the other day on BBC 2? Still up on the iplayer no doubt but the whole show came from the Nottingham Contemporary and went a little way to explain some of the reasoning behind the design etc. Worth a viewing, if only to see Mark Kermodes' go grease lightening haircut again. I simply cannot tire of it
by robcutforth Nov 17, 2009, 03:47:14 pmhaving said what I said, Nottingham Contemporary could certainly have been worse:
by Stillman Nov 17, 2009, 09:40:17 pmI was walking back from the train station on sunday eve, and i must say it does look very impressive at night.
by seamus flannery Nov 18, 2009, 03:49:55 pmArchitecturally, I think it is a fucking revelation. I absolutely love it - I love the lace detail and its meticulously accurate provenance, I love the overhanging strut over the lobby and the space that has created, I love the kitschy 'Vegas sign. I'm glad the 'druggie gardens' are gone. Who (unless you're a crackhead) used them anyway? The steps leading down the west side are also going to be incredibly useful once they're open.
I still haven't seen the gallery spaces but went for a drink in the cafe bar downstairs last night. Typical of a gallery caff, its clean, open and cute. The dinky half pint jar my Castle Rock Elsie Mo came in was willing me to steal it but I restrained myself. The only down side was that 3.00 is awfully dear for a beer which comes from walking distance away. Plus it was really quite cloudy. Otherwise it's a charming little bar and the terrace will be great in the summer.
by Jared Nov 18, 2009, 03:53:53 pmIs that �3 for half a pint? If so that's quite pricey...
by seamus flannery Nov 18, 2009, 03:58:35 pmNo, I had two half pints. That would be ridiculous.
by Jared Nov 18, 2009, 04:02:22 pmAh. That's not too bad then. �3 is okay for a pint really...
by seamus flannery Nov 18, 2009, 04:07:20 pmYeh, I suppose you're right. There's no point having it on if you're not going to keep it well, though. Food looks nice - I'll have to try that soon.
by ash_d Nov 21, 2009, 07:19:39 pmRight. I went to the Gallery today and it was ace.
Hockney Exhibiton.
Awesome. Showcased some very impressive, large pieces and many smaller works and sketches.
Frances Stark Exhibition.
Great stuff. Quite varied and some quite "out there" pieces but definately enjoyable to look at and contemplate.
The Building.
Given - I'm not a big fan of the outside...but...the inside is excellent. Light spacious and feels like a "proper gallery". The huge window that looks out onto the street is excellent - all the traffic and pedestrians can see people walking around a gallery and I think this is brilliant because some people are scared to enter galleries...but this gives them a chance to see that it's all going to be OK.
Staff
Smart and very helpful.
Workshops
They had one which envcouraged anyone (but mostly kids) to contribute to a big collage...loads of kids having loads of fun and loving getting to draw on the floor!
All in all I had a great experience and I fully intend to keep going on a regular basis.
And I've got a message to all the mardy ass nay sayers...
"Sod off and just enjoy it you big mardy ass nay sayers!"
