1. Building Artists’ Careers To enable artists, writers and curators to live and work in the North East through increased opportunities, studios and support.

2. Creating infrastructure for Artists We want to expand our operations, to involve first class production facilities, providing steel fabrication, casting, welding, woodworking not only for the region but also nationally. Within the region there are skills, knowledge and experience to make the project successful. These processes are embedded within the heritage of Teesside. (Tony Charles, Platform Arts) Currently there is a healthy provision of studio and gallery space across the region that relies on low cost buildings awaiting redevelopment. What are the possibilities for sustaining this (and the willingness / resources of stakeholders to do so) in the longer term? (Paul Stone, VANE)

3. Creating infrastructure for artists In terms of a creative economy the timing is right to offer affordable, vibrant, complex contexts to work at a time when the creative hubs of London and Berlin become increasingly unaffordable or even viable for artists and creatives (Alistair Hudson, mima) We have made a commitment to sustaining affordable studio space to artists.. futhermore we have a desire to grow rather than be sustainable including increased paid staff (Navigator North) In addition to our current studio provision, we are looking to create a shared workshop space and also exploring possibilities of a live/work space for visiting artists (Charlotte Gregory, The NewBridge Project)

4. Creating infrastructure for artists We are keen to secure a new permanent location in Gateshead, where we can create new studio and production facilities for our artists (Paul Moss, Workplace) A medium to long term ambition is to create communal workshop facilities at Cobalt aimed at attracting new graduates, apprenticeships and some community use (Kathryn Hodgkinson, Cobalt Studios) Lobbying for improved connectivity for artists and visual arts organisations in Northumberland – communications, networks, broadband, improved mobility and access (many things taken for granted in urban areas) means artists working in rural locations are working in different, isolated conditions (Northumberland Arts Development)

5. Enabling the development of artists’ practice We are keen to create a programme of progressive mentoring sessions to enable selected artists to be nurtured on their practice through 1-2-1 session, studio visits, group discussion, critical dialogue, online development profile and exhibition opportunities at the gallery (Esen Kaya, Customs House) We feel the sector needs a more joined up approach in terms of supporting individual artists both in relation to professional development and also in relation to parity of fees (Amanda Ritson, North East Photography Network)

6. Enabling the development of artists’ practice We want to sustain our offer of professional development for artists. Our NICE programme, designed to engage, inspire and inform participants – increasing their employability as arts professionals through a six month programme of mentoring and training support (Navigator North) As part of our talent development offer, we plan to develop our Practice makes Practice programme, a new artist development programme run by artists for artists, bridging the gap between art school and studio practice, studio practice and the gallery and beyond, delivered through a paid associate membership scheme (Charlotte Gregory, The NewBridge Project)

7. Enabling the development of artists’ practice We want a region where graduates want to remain and continue to make art in a developing and expanding art scene. Sharing resources between groups and institutions, be that equipment, advice, space or business rate reductions. Greater communications between established organisations and smaller groups to ensure the continued development of the region. (Max Lee, Milk Collective) We’d like to explore ways in which funding streams can be made accessible to new start up organisations possible through a central body applying for and drawing down funding as an umbrella for smaller projects amongst which funds could be distributed. (Zoe Anderson, Breeze Creatives)

8. Creating profile for artists and organisations We want to secure greater profiling of work by artists and organisations in the region within national / international art press (Dawn Bothwell, CIRCA) Who generates: high quality press/writing; Museum quality exhibitions locally, nationally, internationally? Who is being collected privately and who is being collected by museums? Whose curatorial practice has international reach? Why are there no NE artists in BAS08, Liverpool Biennial, Glasgow International, New Contemporaries? How does this need to change? Who in the region can affect this change? (Paul Moss, Workplace Gallery) To fill a clear and distinct remit, meeting a gap in the regional ecology – a major public collection supporting regional artists, deepening our support for artists and ensuring the longevity and public visibility of their work. A permanent public signals the value and esteem in which artists are held both publically and to private collectors. (Alistair Robinson, NGCA)