Tuesday, February 19, 2013

Godfrey Worsdale, Director, The Baltic Centre for Contemporary Art

Godfrey Worsdale Chairman of the Baltic Centre for Contemporary Art since 2008 - the fourth director since opening 10 years ago. For a while, it seems that role has some form of an ancient curse that can not be shaken. But he is already Europe's largest contemporary art center in its own work culture, like Ruth Lognonne know. WHEN he was appointed head of the Baltic, more or less in every newspaper saying that Godfrey Worsdale the poisoned chalice. After losing three directors since it opened in 2002, captivating feel of a landmark industrial building on the south bank of the River Tyne pretty damned. First, there Sune Nordgren, the important pre-launch period of the Baltic, which oversees the construction of the gallery and watched the first one million visitors through the door. After nearly six years, Nordgren left to make a new post as founding director of the National Museum of Art, Architecture and Design in Oslo. His successor, Stephen Snoddy, in post for less than a year. Peter Doroshenko take a little longer, but left at the end of 2007. Baltic council members rely Worsdale, founding director of the critically-acclaimed Middlesbrough gallery Mima, were filled better. His first step in 2008 was to instill confidence in the 100-strong workforce of contemporary art institutions responsive to some of the directors for six years. He said: "When I first arrived in the Baltic is more about consolidating the power of the institution is captured and brought some stability. "There are a number of directors before me so I came with the intention to stay for a reasonable amount of time. "When I was appointed, more or less every newspaper used 'poisoned chalice' of words to describe the Baltic. But in fact, a director of the Baltic seem to be a wonderful opportunity for me. "The reason why some of my predecessors struggled is because it is a huge institution and institutions are very young to get to the top. "I've worked with Middlesbrough and witnessed the growth of the Baltic very carefully. I learned a lot how developed in the early years and one of the main things I see Baltic takes a director for a decent amount of time. Two of the many changes in leadership are not good for the stability of any institution. "I'm a big believer in the work of the partnership, establishing relationships with stakeholders. It becomes challenging times, partnerships are the way to go because we all share common goals in life. ' Born in Doncaster, Worsdale went to school in the town of Arnthorpe pit during the Miners Strike 'from the mid-1980s. He went from there to the Camberwell College of Art, London, where she studied art history. Launch curatorial career in the printing department and drawings in the British Museum, he spent 10 years in the city before leaving to be director of the Southampton City Art Gallery. "This is an exciting time for contemporary art," he said. "It was during the 80's and early 90's Young British Artist movement actually attract public attention. "Many artists are initially supported and collected by Charles Saatchi and included well-known artists such as Damien Hirst and Tracey Emin. "Being in London at the time, there was a great buzz around cultural capital. It is a fun time for contemporary art and I was lucky to thick it. ' Young British Artist revitalized, and in some cases giving birth, a new generation of contemporary commercial galleries such as Karsten Schubert, Sadie Coles, Victoria Miro, Maureen Paley Interim Art at White Cube and Jay Jopling. The prevalence rate increases the market for contemporary British art magazine by increased advertising and circulation. During his time in the British Museum, support Worsdale advantage of sales and visitors a successful career as a critic for a number of years. His role in the Southampton program involving art from the 14th century until now, but his passion for contemporary art attracted him to the North East. "When I come to the site in Middlesbrough is just a piece of land. It requires a £ 20M capital funding to get the gallery off the ground and I'm not just talking about bricks and mortar. "I was responsible for the creation of institutions and building a reputation for a gallery on an international scale. "Gallery needed to expand and we are tasked with creating a brand from scratch, something new and then launch it. "It is also a project owned by the council and it is very important to me to be strictly Mima succeeded in creating the smallest risk in power. "I am determined to reach the target and perfect I would have liked to remain in Mima for another year before moving on to the Baltic but it is time to move on. "However, Mima will always have a special place in my heart since I founded and director of my project from the beginning. I also live in Teesside now so it's my a local gallery and I feel very proud. ' Worsdale was lured in Gateshead where he began his post from the gallery suffered criticism from the national media. Which his predecessor had promised a raft of major changes when he is assigned, Worsdale take a more cautious. "I'm more of an evolutionary than a revolutionary," he said. "There are many beautiful things in the Baltic, and something I want to do is make sure that things are preserved and enhanced." Worsdale assumed the Baltic is considered somewhat unfairly by the media in the past, and keen to highlight the facilities and programs of strong institutions. She is also passionate about art education. "Art is not always easy to immediately for a new audience, and there are times when we can propose something a little more challenging," he said. "In this situation, we put extra energy and effort in attracting the audience and give them access routes. What I do not think you need to do is to dumb down the program. "This is the way the Baltic now suspected, both in art and in the community, why me stuck. Is a feel-good factor around this time and it is really important. In 10 years we have shown the work of artists from 50 different countries and it really raised the profile gallery in the international stage. "I do not think we need a permanent collection of other galleries in the North East have them and it is our temporary exhibitions that set us apart from others. "We will present an artist because we really believe in their potential and artists that can not be seen in Britain before. "We are making artist based in the North East but we do not show them as they are based in the North East. They should have a high standard. ' Twenty years after the closing of the old Baltic Flour Mills, the gallery was opened in July 2002. Worsdale said: "The biggest thing we did to celebrate the 10th year we opened a second Baltic over the river at Newcastle. Baltic 39, the High Bridge Road, very much about our next 10 years. "This is a partnership between ourselves, Newcastle City Council, Arts Council England and Northumbria University. "With the change in Ward former warehouse of print and grade II listed building at 39 High Street Bridge we are home to a diverse community of practicing artists. "The building is paglagyan a new public gallery program of the Baltic, 33 artist studios' and a new home for art students of the university. "It is assembled opportunities for training, creativity and exhibitions, offering exceptional artistic centers of excellence and experimental development. It also act as a magnet to attract artists from around the world to teach, residencies and exhibition. ' One of the proudest moments was Worsdale hosting the prestigious Turner Prize show, from October 2011 until January of this year. Baltic was the first non-Tate gallery hosted exhibitions and Worsdale admit it made a significant impact on the income earned by institutions and trading activity over the past year. He recalled: "I remember looking around the square window out of the gallery and the bridge was full of people queuing to get "It reflects a genuine enthusiasm for contemporary art in the region of over 640,000 people came to the Baltic." Gallery attracts about 500,000 visitors each year, but free admission does not put bread on the table. "I do not agree with the Baltic entrance once paid but we have to increase our profits earned from one place," said Worsdale. "£ 700,000 worth of public funds in place until 2015, but we expect to come under pressure in the next round of spending so we want to increase the percentage of income received by us is in line with that for three years. "The business part of the Baltic performed better this year than in the previous three years. "When I was studying art history I very quickly learned that art is one of the major economies. Wherever you find wealth and success, the arts always very close to it. In the crudest terms, the arts are an economic and in the same way that you can put your money in bonds and stocks, you can invest your money in art. "More and more people in the public sector and the business value of cultural and economic contribution to the region having done it. It is worth noting that for every public pound spent, the cultural sector to pay £ 4 in the regional economy. ' Despite the enthusiasm for all things contemporary art, strait-laced Baltic leaders to refrain from dabbling in modern masterpiece today. "Unfortunately I was not allowed to collect contemporary art because of conflict of interest," he said. "I Collectibles 18th and 19th Century English drinking glasses instead. If I'm not working I went on the show as it is something I have great pleasure entrances Art is, and always will be, the greater part of my life than my work. '

No comments:

Post a Comment