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What do Birmingham's hidden gem, | 0:00:02 | 0:00:04 | |
a temple for contemporary art, | 0:00:04 | 0:00:06 | |
a shrine to horse racing, | 0:00:06 | 0:00:08 | |
an altar to 20th-century sculpture, | 0:00:08 | 0:00:11 | |
and a Victorian cabinet of curiosities have in common? | 0:00:11 | 0:00:14 | |
They've all been nominated for the Art Fund's Museum of the Year Award 2017. | 0:00:16 | 0:00:21 | |
This summer, a team of judges have been hightailing | 0:00:21 | 0:00:24 | |
it across the country to see which of these five fine | 0:00:24 | 0:00:27 | |
institutions will be crowned the winner of the £100,000 prize. | 0:00:27 | 0:00:32 | |
From interactive exhibits to stores of deep learning, | 0:00:34 | 0:00:37 | |
these five remarkable museums really showcase how innovative | 0:00:37 | 0:00:41 | |
and productive the sector is, | 0:00:41 | 0:00:43 | |
but against the backdrop of soaring visitor numbers | 0:00:43 | 0:00:46 | |
and a decline in public funding, 2017's record number of applications | 0:00:46 | 0:00:50 | |
for the prize shows just how tight the competition will be. | 0:00:50 | 0:00:54 | |
I have also been visiting each of the nominees over the past | 0:00:55 | 0:00:58 | |
few weeks, to discover what makes them | 0:00:58 | 0:01:01 | |
stand out in this thriving cultural landscape. | 0:01:01 | 0:01:04 | |
This is the Museum of the Year Award 2017. | 0:01:05 | 0:01:08 | |
The last six months have been quite an upheaval for me. | 0:01:19 | 0:01:22 | |
After almost seven years as a Labour Member of Parliament, I stood | 0:01:22 | 0:01:25 | |
down from Westminster in January to take on a new challenge, | 0:01:25 | 0:01:28 | |
as director of the V&A Museum in the heart of London. | 0:01:28 | 0:01:33 | |
Though I may appear to have swapped one grand Victorian | 0:01:33 | 0:01:36 | |
institution for another by leaving the House of Commons, | 0:01:36 | 0:01:39 | |
this museum is focused on the future. | 0:01:39 | 0:01:43 | |
With over a century and a half of pioneering work | 0:01:43 | 0:01:46 | |
already behind it, the V&A is committed to championing design | 0:01:46 | 0:01:50 | |
and nurturing the next generation of artists and innovators. | 0:01:50 | 0:01:56 | |
The V&A won the Museum of the Year prize in 2016, following a stunning | 0:01:56 | 0:02:00 | |
run of exhibitions, culminating in its Alexander McQueen show. | 0:02:00 | 0:02:04 | |
This summer we start a new chapter, as we open up a courtyard | 0:02:07 | 0:02:11 | |
and gallery on Exhibition Road, | 0:02:11 | 0:02:13 | |
putting the V&A back at the heart of Albertopolis. | 0:02:13 | 0:02:16 | |
My hope is that the V&A's Exhibition Road Quarter proves to be | 0:02:16 | 0:02:20 | |
the most striking piazza to open in the UK for a generation. | 0:02:20 | 0:02:25 | |
The V&A has allocated its winning prize-money on piloting | 0:02:25 | 0:02:29 | |
an education programme to supercharge skills in art and | 0:02:29 | 0:02:32 | |
design, but as we get ready to hand over the mantle of Museum of the | 0:02:32 | 0:02:37 | |
Year to one of the 2017 nominees, let's go and meet the finalists. | 0:02:37 | 0:02:41 | |
Jockeying for position is the National Heritage | 0:02:44 | 0:02:47 | |
Centre for Horse Racing & Sporting Art in Newmarket, | 0:02:47 | 0:02:49 | |
home of the famous racecourse. | 0:02:49 | 0:02:51 | |
Does it have what it takes to go the extra mile in this hotly | 0:02:52 | 0:02:55 | |
contested race? | 0:02:55 | 0:02:58 | |
Last year, the museum reopened after a decade-long restoration project. | 0:02:58 | 0:03:02 | |
We're in Palace House, which was built in the late 17th century | 0:03:04 | 0:03:07 | |
for King Charles II to come up to Newmarket to see his horses. | 0:03:07 | 0:03:12 | |
And the museum has put on some of the great works of British | 0:03:12 | 0:03:16 | |
art depicting sporting pastimes, and my favourite | 0:03:16 | 0:03:20 | |
is on loan from the Victoria & Albert Museum which is this 18th-century | 0:03:20 | 0:03:24 | |
screen showing all of the multiple layers of British sporting | 0:03:24 | 0:03:30 | |
pastimes, from card-playing to cockfighting, | 0:03:30 | 0:03:34 | |
to fox hunting, to horse racing, to shooting, to angling, | 0:03:34 | 0:03:39 | |
and it shows just what an important part sport played to British | 0:03:39 | 0:03:44 | |
culture and British identity during the 18th century. | 0:03:44 | 0:03:48 | |
And that's at the heart of what this museum celebrates. | 0:03:48 | 0:03:52 | |
The collection here straddles both old and new, | 0:03:53 | 0:03:55 | |
including a piece by the Turner prize winner Mark Wallinger. | 0:03:55 | 0:03:59 | |
I think art and sport feed us in ways that are rather similar, | 0:03:59 | 0:04:03 | |
and they tend to be seen as a sort of dichotomy. | 0:04:03 | 0:04:06 | |
As a sporting fan, not just of racing, | 0:04:06 | 0:04:08 | |
but of other sports as well, there's a spectacle, there is | 0:04:08 | 0:04:13 | |
a kind of emotional fulfilment, there's an anaesthetic. | 0:04:13 | 0:04:16 | |
I think sport and art are very, very much linked. | 0:04:16 | 0:04:20 | |
And I think uniquely this museum opens up onto that. | 0:04:20 | 0:04:24 | |
The museum is much more than just a collection of artworks though. | 0:04:24 | 0:04:28 | |
It even provides unexpected insight into the jockey's skill. | 0:04:28 | 0:04:32 | |
Straight legs, and bring this bit, just, that's it, you're going to... | 0:04:36 | 0:04:40 | |
-That's it? -You're going to pretend look through Legless's ears. | 0:04:40 | 0:04:43 | |
-God... -Not as easy as it looks! | 0:04:43 | 0:04:45 | |
THEY LAUGH | 0:04:45 | 0:04:46 | |
-Not if you're six foot three either! -Are you ready? -Yeah, yeah. | 0:04:46 | 0:04:49 | |
OK. | 0:04:52 | 0:04:54 | |
SHE LAUGHS | 0:04:54 | 0:04:55 | |
Oh! | 0:04:58 | 0:05:00 | |
HE LAUGHS | 0:05:00 | 0:05:01 | |
No! HE LAUGHS | 0:05:01 | 0:05:04 | |
-Okey dokey, the winning post is in front of you. -Exactly, exactly. | 0:05:04 | 0:05:07 | |
Oh, well done. | 0:05:10 | 0:05:11 | |
Beauty! | 0:05:11 | 0:05:12 | |
Oh! HE LAUGHS | 0:05:13 | 0:05:15 | |
So, how did this great venture come about? | 0:05:17 | 0:05:19 | |
I met with museum director Chris Garibaldi to find out more. | 0:05:19 | 0:05:23 | |
This is the incredible thing about this museum. | 0:05:23 | 0:05:25 | |
It's this mix of fine art, of science, and then livestock. | 0:05:25 | 0:05:29 | |
It seems focused both on those who are passionate about horse racing | 0:05:29 | 0:05:32 | |
and those who don't really know the sport at all. | 0:05:32 | 0:05:34 | |
Absolutely, and I think that's one of the main things that we're | 0:05:34 | 0:05:37 | |
trying to do is say, you know, if you're a complete racing nut, | 0:05:37 | 0:05:39 | |
for want of another expression, | 0:05:39 | 0:05:41 | |
you'll find things that you didn't know about the sport, | 0:05:41 | 0:05:43 | |
but actually if you don't know one end of a horse from another, | 0:05:43 | 0:05:46 | |
you don't think you're interested in horse racing, you might even think you're not interested definitely, | 0:05:46 | 0:05:50 | |
you'll find an extraordinary layering of culture that sits behind the sport. | 0:05:50 | 0:05:54 | |
And also the combination of sporting art generally, | 0:05:54 | 0:05:56 | |
this is a gallery of the art of all sport, not just horse racing, | 0:05:56 | 0:05:59 | |
so it's horse racing in context. | 0:05:59 | 0:06:01 | |
What we've also got here is an incredible gem in the heart of Newmarket, | 0:06:01 | 0:06:05 | |
just off a very busy high street with normal traditional | 0:06:05 | 0:06:08 | |
high-street shops, and you just wouldn't know, | 0:06:08 | 0:06:10 | |
if you stepped step back, what you've managed to create here. | 0:06:10 | 0:06:13 | |
Give us a sense of the regeneration that you've brought to this land. | 0:06:13 | 0:06:16 | |
It's about totally recasting Newmarket's tourist offer so that, | 0:06:16 | 0:06:20 | |
you know, apart from anything else, in the past you could come to | 0:06:20 | 0:06:23 | |
Newmarket after 12 o'clock, you wouldn't have seen a racehorse. | 0:06:23 | 0:06:25 | |
Now that's crazy. There's 3,000 of them in the town. | 0:06:25 | 0:06:28 | |
So this is to open the doors. | 0:06:28 | 0:06:29 | |
You know, those horses are behind closed doors for a reason. | 0:06:29 | 0:06:32 | |
-They are multi-million pound assets. -Yeah. | 0:06:32 | 0:06:34 | |
They have to be treated very, very carefully. | 0:06:34 | 0:06:36 | |
Trainers can't have the public trampling through all the time, | 0:06:36 | 0:06:39 | |
but we can give that kind of open access, as they come and see these, they're beautiful animals. | 0:06:39 | 0:06:44 | |
Perhaps the magic that really marks Newmarket out from the rest | 0:06:46 | 0:06:49 | |
is the presence of live racehorses as part of the museum. | 0:06:49 | 0:06:53 | |
HORSE WHINNIES | 0:06:53 | 0:06:54 | |
Joe, we've seen some of the art in this museum, | 0:06:54 | 0:06:56 | |
but this is such a living, dynamic museum, and one of its purposes | 0:06:56 | 0:07:00 | |
is giving horses, previously jumping horses, racehorses, a second career. | 0:07:00 | 0:07:05 | |
Tell us something about the purpose of that. | 0:07:05 | 0:07:07 | |
-What we're about is asking a horse what it's able to do. -Right. | 0:07:07 | 0:07:11 | |
And then finding the right future for it. | 0:07:11 | 0:07:13 | |
And if they don't perform in an arena, you can | 0:07:13 | 0:07:15 | |
look at taking them out for team chasing or endurance riding, | 0:07:15 | 0:07:17 | |
and if they do perform in an arena, you can | 0:07:17 | 0:07:20 | |
look at dressage and showjumping, and there's always eventing, | 0:07:20 | 0:07:23 | |
so there are so many options for them to move on to. | 0:07:23 | 0:07:25 | |
And the museum's sort of a tribute to the thoroughbreds, | 0:07:25 | 0:07:28 | |
so having the thoroughbred here is very special. | 0:07:28 | 0:07:31 | |
And we get people coming in who haven't been | 0:07:31 | 0:07:33 | |
within 100 yards of a horse, and they can get up close to | 0:07:33 | 0:07:36 | |
these fabulous horses, and they're very sensitive, these horses. | 0:07:36 | 0:07:39 | |
-They can sense how bold they can be with the visitors. -Right. | 0:07:39 | 0:07:42 | |
And it's a joy to watch. | 0:07:42 | 0:07:43 | |
Another museum which has impressed the punters these | 0:07:49 | 0:07:51 | |
past 12 months, albeit without the aid of on-site horses, | 0:07:51 | 0:07:55 | |
is the Hepworth Gallery in Wakefield. | 0:07:55 | 0:07:58 | |
As part of the Yorkshire Sculpture Triangle, | 0:07:59 | 0:08:02 | |
with the Henry Moore Institute in Leeds and Sculpture Park nearby, the | 0:08:02 | 0:08:06 | |
Hepworth has helped in regenerating a neglected corner of the city. | 0:08:06 | 0:08:10 | |
It's not just the interiors which are full of delights | 0:08:12 | 0:08:15 | |
at the Hepworth Gallery. | 0:08:15 | 0:08:17 | |
The building too is a really spectacular | 0:08:17 | 0:08:19 | |
intervention by the architect David Chipperfield. | 0:08:19 | 0:08:23 | |
As the largest purpose-built gallery in the country for 50 years, | 0:08:23 | 0:08:27 | |
it's spearheading the regeneration of this part of Wakefield. | 0:08:27 | 0:08:31 | |
The gallery plays host to some of the most exciting | 0:08:35 | 0:08:37 | |
exhibitions in the country, including a spectacular show earlier | 0:08:37 | 0:08:40 | |
this year called Disobedient Bodies, | 0:08:40 | 0:08:43 | |
curated by the fashion industry wunderkind JW Anderson. | 0:08:43 | 0:08:47 | |
I was kind of looking at this idea that, you know, | 0:08:49 | 0:08:52 | |
disobedient as a word, and which designers and sculptors had, | 0:08:52 | 0:08:57 | |
kind of, used the body in their period or in context, | 0:08:57 | 0:09:03 | |
and changed the way in which we perceive it, | 0:09:03 | 0:09:06 | |
the way in which we look at it, and the way in which, you know, | 0:09:06 | 0:09:09 | |
from over the last hundred years and how we have reinterpreted it, | 0:09:09 | 0:09:13 | |
both in clothing, in ceramics, or dance, and in a way in which, | 0:09:13 | 0:09:18 | |
in their period, they were kind of disobedient to the norm. | 0:09:18 | 0:09:23 | |
I wanted this show to be the best show that was never in London. | 0:09:23 | 0:09:27 | |
HE LAUGHS | 0:09:27 | 0:09:29 | |
So I'm glad it's here. | 0:09:29 | 0:09:31 | |
Now, sometimes fashion can seem quite a distant | 0:09:33 | 0:09:35 | |
and austere subject to deal with, and yet here we're | 0:09:35 | 0:09:39 | |
surrounded with these wonderful, tactile, super-long jumpers. | 0:09:39 | 0:09:43 | |
And I know that some of the school groups from Wakefield have really enjoyed coming in here. | 0:09:43 | 0:09:46 | |
Tell us about some of the education work going on? | 0:09:46 | 0:09:49 | |
We've been working really closely with Wakefield schools. | 0:09:49 | 0:09:52 | |
We have, generally, the public really love to get involved, | 0:09:52 | 0:09:56 | |
so there's always a weird thing with fashion that people just | 0:09:56 | 0:09:59 | |
want to touch it, it's very tactile, | 0:09:59 | 0:10:00 | |
so this is really about encouraging people to get into the jumpers, | 0:10:00 | 0:10:04 | |
get dressed up in them and have an opportunity to actually | 0:10:04 | 0:10:08 | |
experience the garments in a different way. | 0:10:08 | 0:10:11 | |
-So, these can be ties, these can be scarves? -Yeah. | 0:10:11 | 0:10:13 | |
We've also run life drawing for a local college, | 0:10:15 | 0:10:18 | |
where we had dancers moving and using the garments | 0:10:18 | 0:10:22 | |
and people drawing from that so it's been amazing to have this | 0:10:22 | 0:10:26 | |
kind of participatory element to an exhibition and | 0:10:26 | 0:10:29 | |
it's really unusual and we have taken full advantage of that. | 0:10:29 | 0:10:32 | |
Despite specialising in the vanguard of contemporary art, | 0:10:35 | 0:10:39 | |
much of the gallery's space is dedicated to its | 0:10:39 | 0:10:41 | |
namesake - Barbara Hepworth, a giant of 20th-century sculpture. | 0:10:41 | 0:10:45 | |
Simon, how important is it to be celebrating here | 0:10:47 | 0:10:51 | |
in the Barbara Hepworth Gallery... | 0:10:51 | 0:10:53 | |
..an artist who came from Wakefield and whose connections to | 0:10:55 | 0:10:59 | |
Yorkshire, the architecture, the place, are | 0:10:59 | 0:11:01 | |
so important to her work? | 0:11:01 | 0:11:03 | |
I think it's crucial that you can see Hepworth's work | 0:11:03 | 0:11:07 | |
in the county that was so important to her development as | 0:11:07 | 0:11:11 | |
an artist - this relationship between the urban | 0:11:11 | 0:11:13 | |
environment - Wakefield, where she grew up... | 0:11:13 | 0:11:15 | |
And the amazing countryside around us. I think that was a | 0:11:15 | 0:11:18 | |
huge part of her development as an artist. | 0:11:18 | 0:11:22 | |
And obviously being here where you see many of the tools | 0:11:22 | 0:11:25 | |
that she used to create her work, is a really interesting | 0:11:25 | 0:11:28 | |
opportunity to understand about the physical making, | 0:11:28 | 0:11:31 | |
that relationship between mind and body, eye and the hand, | 0:11:31 | 0:11:35 | |
you get this sense of the made-ness, the physical stuff | 0:11:35 | 0:11:38 | |
that was so important to her as a sculptor. | 0:11:38 | 0:11:41 | |
And how do visitors respond to seeing the bench, | 0:11:41 | 0:11:43 | |
the chisel, the artefacts just almost ready to touch, | 0:11:43 | 0:11:48 | |
to take back up and work again? | 0:11:48 | 0:11:49 | |
I think that's exactly right, it is that feel that should never | 0:11:49 | 0:11:52 | |
be lost. | 0:11:52 | 0:11:54 | |
She was a highly political, highly intellectual artist | 0:11:54 | 0:11:57 | |
but actually what matters most, this sort of embodied | 0:11:57 | 0:12:00 | |
spirituality in the work, which is so much about tuning in | 0:12:00 | 0:12:03 | |
to the materials that meant so much to her | 0:12:03 | 0:12:06 | |
but also the tools that meant so much to her. | 0:12:06 | 0:12:08 | |
I mean, physically how did she do this? | 0:12:08 | 0:12:10 | |
And this gallery does give a very clear sense of the importance | 0:12:10 | 0:12:14 | |
of making. | 0:12:14 | 0:12:15 | |
The biggest development for the gallery in the | 0:12:15 | 0:12:18 | |
past 12 months, was the launching of the biennial Hepworth Prize, | 0:12:18 | 0:12:21 | |
a £30,000 award for the best sculptor based in Britain. | 0:12:21 | 0:12:25 | |
Last year, Helen Marten won, before going on to win | 0:12:25 | 0:12:29 | |
the Turner Prize. Has that generated new enthusiasm | 0:12:29 | 0:12:32 | |
-around the discipline? -I think it did. | 0:12:32 | 0:12:35 | |
The numbers speak for themselves. It was one of the most popular | 0:12:35 | 0:12:38 | |
shows we've ever put on. But the level of debate, you know, | 0:12:38 | 0:12:41 | |
from schoolkids through to lifelong learners, | 0:12:41 | 0:12:44 | |
was absolutely fantastic, so it made sculpture a | 0:12:44 | 0:12:47 | |
really live topic of debate, created a great buzz | 0:12:47 | 0:12:51 | |
and I think, you know, Hepworth would have been delighted | 0:12:51 | 0:12:54 | |
with us coming up with something so inventive, to extend her legacy. | 0:12:54 | 0:12:57 | |
The hidden gem on this year's short list | 0:13:03 | 0:13:06 | |
has to be the Lapworth Museum of Geology at Birmingham University. | 0:13:06 | 0:13:09 | |
After decades as an institution catering mainly to | 0:13:09 | 0:13:13 | |
professional palaeontologists and academics, | 0:13:13 | 0:13:15 | |
the Lapworth reopened last year with a much more | 0:13:15 | 0:13:19 | |
family-orientated focus. | 0:13:19 | 0:13:21 | |
One of the really elegant innovations that | 0:13:23 | 0:13:25 | |
the revamp of the Lapworth has allowed is this | 0:13:25 | 0:13:28 | |
sensory rock wall, which allows you to feel | 0:13:28 | 0:13:31 | |
the difference between the igneous rock and the sedimentary rock. | 0:13:31 | 0:13:35 | |
Now, as a historian, I should probably know | 0:13:35 | 0:13:38 | |
the difference between the two but it's always good to get | 0:13:38 | 0:13:40 | |
a refresher course. | 0:13:40 | 0:13:42 | |
Some of these specimens are millions of years old. | 0:13:44 | 0:13:47 | |
By allowing people to get up close and personal | 0:13:47 | 0:13:50 | |
with these rocks, a visit to the Lapworth provides | 0:13:50 | 0:13:52 | |
an unrivalled opportunity to get to grips | 0:13:52 | 0:13:56 | |
with the history of our planet. | 0:13:56 | 0:13:57 | |
Much of the work behind the redevelopment | 0:14:00 | 0:14:02 | |
was carried out by a loyal army of volunteers, | 0:14:02 | 0:14:05 | |
including the veteran quartz cleaner, Margaret. | 0:14:05 | 0:14:08 | |
So, Margaret, how long have you been working on these minerals? | 0:14:10 | 0:14:13 | |
So, I've been coming to Lapworth lectures for at least 25 years. | 0:14:13 | 0:14:18 | |
And so, when they got the Lottery money, | 0:14:20 | 0:14:23 | |
-I decided it was payback time. -OK. | 0:14:23 | 0:14:26 | |
And that I would actually volunteer to do some work, | 0:14:26 | 0:14:29 | |
so I got the relevant training and... | 0:14:29 | 0:14:32 | |
-..took it from there. -Right, so what happens next? | 0:14:33 | 0:14:35 | |
-You've dusted it... -I've dusted it, so I now start... | 0:14:35 | 0:14:39 | |
..seeing what comes off. | 0:14:41 | 0:14:42 | |
What was the biggest mineral you did? Is this a normal-size one | 0:14:44 | 0:14:46 | |
-or is this...? -Oh, I have done bigger ones than this... | 0:14:46 | 0:14:49 | |
Yeah, yeah. | 0:14:49 | 0:14:51 | |
And then having gone to all those lectures and now working | 0:14:51 | 0:14:53 | |
on it, do you reflect on what you learnt in the lectures? | 0:14:53 | 0:14:56 | |
I would come away from lectures thinking that I hadn't | 0:14:56 | 0:14:59 | |
-really understood it. -Right. -But if you do this for 25 years... | 0:14:59 | 0:15:03 | |
you gradually pick things up. | 0:15:03 | 0:15:05 | |
HE LAUGHS | 0:15:05 | 0:15:06 | |
-It's beginning to shine, isn't it? -Yeah. | 0:15:06 | 0:15:08 | |
Margaret, the case upstairs is full of the most | 0:15:08 | 0:15:12 | |
beautifully glistening, cleaned minerals. | 0:15:12 | 0:15:14 | |
How many of those were you responsible for? | 0:15:15 | 0:15:19 | |
Well, as far as I know I was responsible for all of them. | 0:15:19 | 0:15:22 | |
That's quite an achievement. | 0:15:22 | 0:15:24 | |
-Yeah, well, you've just got to stick at it, haven't you? -Yes. | 0:15:24 | 0:15:27 | |
-If you know the job's got to be done... -Exactly. | 0:15:27 | 0:15:30 | |
-..you do it. -Yes! Exactly. | 0:15:30 | 0:15:32 | |
LAUGHTER | 0:15:32 | 0:15:33 | |
As part of its extraordinary collection, | 0:15:41 | 0:15:44 | |
the Lapworth holds some of the most important specimens | 0:15:44 | 0:15:46 | |
of fossils in the world, including a not-so-humble beetle | 0:15:46 | 0:15:49 | |
from nearby. | 0:15:49 | 0:15:51 | |
Now, one of the crown jewels of this collection is sitting here, | 0:15:51 | 0:15:55 | |
which is known as the Dudley Bug. Tell us about the Dudley Bug. | 0:15:55 | 0:16:00 | |
OK, so the Dudley Bug is a trilobite. | 0:16:00 | 0:16:03 | |
Trilobites were woodlice-like marine animals | 0:16:03 | 0:16:06 | |
that lived on the bottom of the ocean floor. | 0:16:06 | 0:16:08 | |
This one was living around 428 million years ago. | 0:16:08 | 0:16:12 | |
And this particular fossil comes from Dudley, | 0:16:12 | 0:16:15 | |
so just to the west of here, which is why it's | 0:16:15 | 0:16:18 | |
known as the Dudley Bug. It's particularly famous | 0:16:18 | 0:16:20 | |
in the local area, it once featured on the Dudley coat of arms. | 0:16:20 | 0:16:23 | |
And this particular specimen is actually the holotype specimen, | 0:16:23 | 0:16:26 | |
so the holotype is the specimen on which | 0:16:26 | 0:16:29 | |
-the species was originally scientifically defined. -Fantastic. | 0:16:29 | 0:16:33 | |
-The Dudley Bug, it's a star. -It's a fantastic object, yeah. | 0:16:33 | 0:16:37 | |
The remarkable success of the redevelopment | 0:16:38 | 0:16:40 | |
has been down to the tireless work of the Lapworth's director. | 0:16:40 | 0:16:43 | |
John Clatworthy. | 0:16:43 | 0:16:45 | |
How do you marry that balance between the demands | 0:16:45 | 0:16:48 | |
of incredibly sophisticated serious scholarship | 0:16:48 | 0:16:52 | |
for a university audience and the kids we saw running around today, | 0:16:52 | 0:16:56 | |
sticking their noses up against the glass panels, | 0:16:56 | 0:16:59 | |
trying to understand about dinosaurs? | 0:16:59 | 0:17:01 | |
I think one of the great things is that actually a lot of the | 0:17:01 | 0:17:05 | |
academics are just... And research students and a lot | 0:17:05 | 0:17:08 | |
of them who are helping us out, are really keen to do public | 0:17:08 | 0:17:11 | |
engagement and they want to get their research | 0:17:11 | 0:17:14 | |
and what they are doing, across to the public | 0:17:14 | 0:17:16 | |
in an engaging way. I think the way our audience has changed, | 0:17:16 | 0:17:19 | |
the way the public, the community has embraced the museum | 0:17:19 | 0:17:23 | |
since it's reopened, clearly shows that it can do both | 0:17:23 | 0:17:26 | |
and it can be very welcoming | 0:17:26 | 0:17:29 | |
-and engaging for the public. -And they've also embraced | 0:17:29 | 0:17:32 | |
this idea which the judges pointed to, that | 0:17:32 | 0:17:35 | |
the great achievement of your curators, your educational team, | 0:17:35 | 0:17:40 | |
is making rocks sexy! So this is a really attractive... | 0:17:40 | 0:17:43 | |
It's a visually engaging... It's an exciting place | 0:17:43 | 0:17:45 | |
dealing with sedimentary, igneous rocks. | 0:17:45 | 0:17:48 | |
And I think we have tried to do that using modern technology | 0:17:48 | 0:17:53 | |
in what is an old museum, but trying to retain its history. | 0:17:53 | 0:17:57 | |
It is about bringing that science to life, | 0:17:57 | 0:18:00 | |
so we've done animations, very high-quality animations. | 0:18:00 | 0:18:03 | |
All sorts of modern, cutting-edge sort of work, | 0:18:03 | 0:18:07 | |
to bringing those to life and bringing the stories to life. | 0:18:07 | 0:18:10 | |
The biggest story in the museum world this year has to be | 0:18:15 | 0:18:18 | |
the opening of the £260 million Blavatnik building | 0:18:18 | 0:18:21 | |
at Tate Modern. Already one of the most popular attractions | 0:18:21 | 0:18:25 | |
in the country, this ten-storey extension heralded | 0:18:25 | 0:18:29 | |
a 25% surge in visitor numbers to almost six million, | 0:18:29 | 0:18:32 | |
placing it just behind the British Museum and National Gallery. | 0:18:32 | 0:18:36 | |
What is it about contemporary art that keeps drawing in | 0:18:36 | 0:18:39 | |
the crowds? | 0:18:39 | 0:18:40 | |
Did you enjoy your visit? Was it the space of it? | 0:18:40 | 0:18:43 | |
Was it the art? What did you like? | 0:18:43 | 0:18:44 | |
Fantastic, I love the new building, the space is really creative, | 0:18:44 | 0:18:47 | |
it makes you look in different angles and different ways. | 0:18:47 | 0:18:50 | |
I just love the space and the unexpectedness of turning a | 0:18:50 | 0:18:53 | |
corner, not quite sure what you're going to see! | 0:18:53 | 0:18:56 | |
Or feel about it, either. | 0:18:56 | 0:18:57 | |
I specially came to see the building. | 0:18:57 | 0:18:59 | |
I think a lot of people just think, "Oh, it's a nice building." | 0:18:59 | 0:19:02 | |
But actually to go inside is pretty incredible. | 0:19:02 | 0:19:04 | |
I always just come back to see Monet. | 0:19:04 | 0:19:06 | |
-Piet Mondrian. -Rothko? | 0:19:06 | 0:19:08 | |
Pablo Picasso and Dali. | 0:19:08 | 0:19:09 | |
Alongside the new building, the permanent collection underwent a | 0:19:13 | 0:19:16 | |
substantial re-hanging, with a determined focus on female and | 0:19:16 | 0:19:20 | |
Latin American artists. Much of this is down to the vision | 0:19:20 | 0:19:24 | |
of Tate Modern's director, Frances Morris, | 0:19:24 | 0:19:26 | |
who took up her post last year. | 0:19:26 | 0:19:29 | |
Frances, it's one year since the Blavatnik building opened | 0:19:29 | 0:19:32 | |
and since then Tate Modern has become the third-most popular | 0:19:32 | 0:19:35 | |
visitor attraction in the UK. Are you surprised by this success | 0:19:35 | 0:19:40 | |
or did you see it coming? | 0:19:40 | 0:19:42 | |
Well, we were doing pretty well before we opened | 0:19:42 | 0:19:45 | |
the new Tate Modern with the Blavatnik building | 0:19:45 | 0:19:48 | |
but we did want to expand what we do and we did want to respond | 0:19:48 | 0:19:52 | |
to the changing dynamic of art and the changing needs of the audience, | 0:19:52 | 0:19:55 | |
so the fact that we have grown our audience since then is | 0:19:55 | 0:19:59 | |
very gratifying and I think it's partly a result | 0:19:59 | 0:20:01 | |
of the fact that this building is really about, | 0:20:01 | 0:20:04 | |
the way art can be activated by the audience. | 0:20:04 | 0:20:07 | |
So, how does the Blavatnik Building work with the | 0:20:07 | 0:20:11 | |
sort of Original Tate Modern space in terms of | 0:20:11 | 0:20:13 | |
the Turbine Hall? | 0:20:13 | 0:20:15 | |
Well, it connects at three levels, so there's great | 0:20:15 | 0:20:17 | |
people traffic between the Boiler House, the Turbine Hall, | 0:20:17 | 0:20:20 | |
The Tanks, which is the base of this building, | 0:20:20 | 0:20:23 | |
and then the floors above it, where we have galleries. | 0:20:23 | 0:20:26 | |
And the significant shift is that this new building | 0:20:26 | 0:20:29 | |
and these new galleries really focus on art since 1960. | 0:20:29 | 0:20:32 | |
So that moment in the world when artists began making | 0:20:32 | 0:20:36 | |
really, kind of, invasive, spatially intense sculptures | 0:20:36 | 0:20:39 | |
that engage with the visitor in a different way. | 0:20:39 | 0:20:42 | |
And that in turn then has... | 0:20:42 | 0:20:44 | |
..encouraged audiences to feel a desire to participate, | 0:20:45 | 0:20:49 | |
to get more actively involved as audiences | 0:20:49 | 0:20:52 | |
but also as makers. | 0:20:52 | 0:20:53 | |
One of the really special things about having this | 0:20:53 | 0:20:56 | |
new building was that we've been able to build in | 0:20:56 | 0:20:59 | |
live art into the collection and that's pretty much a first, | 0:20:59 | 0:21:02 | |
I think, for any museum. | 0:21:02 | 0:21:03 | |
There is a lot of money around contemporary art, | 0:21:03 | 0:21:07 | |
around the art fairs, yet we also know | 0:21:07 | 0:21:09 | |
that we have to do a lot to make sure that there's capacity | 0:21:09 | 0:21:13 | |
-for artists to grow, particularly in a expensive city... -Yeah. | 0:21:13 | 0:21:16 | |
..like London. How do you create that kind of artistic dynamic | 0:21:16 | 0:21:20 | |
of the future? | 0:21:20 | 0:21:22 | |
What is your role as an incubator for future talent? | 0:21:22 | 0:21:24 | |
We are an incubator writ large, we're a safe place to take risks | 0:21:24 | 0:21:27 | |
both in the Turbine Hall and in Tate Exchange | 0:21:27 | 0:21:30 | |
but one of the things that in a global city like London, | 0:21:30 | 0:21:34 | |
where property prices and real estate are squeezing provision | 0:21:34 | 0:21:37 | |
for artists right across the piece... | 0:21:37 | 0:21:39 | |
I think our network of support across the regions | 0:21:39 | 0:21:43 | |
in the UK is incredibly important for nurturing talent. | 0:21:43 | 0:21:46 | |
I've just been to Leeds and met a wonderful group | 0:21:46 | 0:21:49 | |
of young artists who are absolutely flourishing in Leeds | 0:21:49 | 0:21:51 | |
and I know the same thing is happening in Manchester | 0:21:51 | 0:21:54 | |
and Birmingham and Glasgow and Bristol and so on. | 0:21:54 | 0:21:58 | |
And actually it's really important that Tate isn't just about | 0:21:58 | 0:22:01 | |
London, Tate Modern is part of this regional network | 0:22:01 | 0:22:04 | |
of galleries and I think it's supporting those galleries | 0:22:04 | 0:22:07 | |
and those... Germinating talent, incubators in those places | 0:22:07 | 0:22:12 | |
that's just as important as nurturing it here. | 0:22:12 | 0:22:16 | |
You once said, I remember, that the point of a gallery | 0:22:16 | 0:22:18 | |
or a museum is to be a safe space for unsafe ideas. | 0:22:18 | 0:22:22 | |
-That's right, absolutely. -Is that still...? | 0:22:22 | 0:22:24 | |
-Yeah. Yes! -That's still the ambition? -Yes! Absolutely. | 0:22:24 | 0:22:26 | |
Yeah, yeah, yeah... | 0:22:26 | 0:22:28 | |
Take a risk and it's a fun thing to do at Tate Modern. | 0:22:28 | 0:22:30 | |
In order to determine the ultimate winner of | 0:22:32 | 0:22:34 | |
the Museum of The Year award, each year the Art Fund | 0:22:34 | 0:22:37 | |
appoints five judges whose task it is to travel up and down | 0:22:37 | 0:22:41 | |
the country to inspect each of the five nominees for themselves. | 0:22:41 | 0:22:45 | |
These are, really, the best in class because they | 0:22:45 | 0:22:48 | |
know their objects so well and they know their work so well | 0:22:48 | 0:22:52 | |
that they know how to explain it to people who are, most of us, | 0:22:52 | 0:22:56 | |
including the judges, are not experts. | 0:22:56 | 0:22:59 | |
It's like the Mercury music prize, all you can do... | 0:22:59 | 0:23:01 | |
You are trying to compare fantastic places... | 0:23:01 | 0:23:04 | |
And it's really, really hard to choose the ultimate one | 0:23:04 | 0:23:07 | |
but if you can make people aware that there is something great going | 0:23:07 | 0:23:10 | |
on and you can get people through the door, | 0:23:10 | 0:23:12 | |
then I think our work is done. | 0:23:12 | 0:23:13 | |
Today it's the turn of Sir John Soane's Museum in London, | 0:23:14 | 0:23:18 | |
to host the jury. | 0:23:18 | 0:23:20 | |
The museum is no stranger to competitions, though, | 0:23:21 | 0:23:23 | |
including one gauntlet which I have particularly | 0:23:23 | 0:23:26 | |
fond memories of. One of the many gems inside | 0:23:26 | 0:23:29 | |
Sir John Soane's Museum is the Picture Room | 0:23:29 | 0:23:31 | |
at the heart of it sits the work of Hogarth | 0:23:31 | 0:23:35 | |
and here is a particular favourite for me - | 0:23:35 | 0:23:37 | |
his election cycle. Now, here you see some pretty good | 0:23:37 | 0:23:41 | |
old-fashioned 18th-century politicking at work. | 0:23:41 | 0:23:44 | |
Bribing the voters with oysters and gin. | 0:23:44 | 0:23:47 | |
Very different to the kind of Labour Party fundraisers that I used | 0:23:47 | 0:23:51 | |
to be involved with. | 0:23:51 | 0:23:52 | |
Not nearly so exciting or full of drama. But there are some | 0:23:52 | 0:23:57 | |
rich characters within this, who... | 0:23:57 | 0:24:00 | |
I can certainly see echoes of the Parliamentary Labour Party. | 0:24:00 | 0:24:04 | |
And then as it proceeds, the... Shall we say... | 0:24:04 | 0:24:10 | |
The gentle encouragement through financial reward, | 0:24:10 | 0:24:13 | |
of voting... And then a sort of sense of patriotic pride | 0:24:13 | 0:24:18 | |
about what general elections should be about. | 0:24:18 | 0:24:22 | |
We've got the lion eating a symbol of France. | 0:24:22 | 0:24:26 | |
As ever with Hogarth, it's just so rich with history, | 0:24:26 | 0:24:30 | |
with satire, with cynicism | 0:24:30 | 0:24:33 | |
and a sense of what politics is about. | 0:24:33 | 0:24:35 | |
This set of paintings, like the vast majority of the | 0:24:38 | 0:24:40 | |
rest of the collection here, was acquired by the architect | 0:24:40 | 0:24:43 | |
Sir John Soane in the 19th century. | 0:24:43 | 0:24:46 | |
Because of the extraordinary amount of curios he collected | 0:24:47 | 0:24:50 | |
in his lifetime, he planned for his home and collection | 0:24:50 | 0:24:53 | |
to be made available to the public after his death. | 0:24:53 | 0:24:56 | |
For the past 180 years, this house has welcomed visitors | 0:24:57 | 0:25:01 | |
curious about Soane's life and tastes. | 0:25:01 | 0:25:04 | |
Though the museum regularly hosts works from contemporary artists, | 0:25:06 | 0:25:09 | |
like Sarah Lucas, or their current exhibition by Marc Quinn, | 0:25:09 | 0:25:12 | |
it has long prided itself on how it preserves | 0:25:12 | 0:25:15 | |
the house in the same conditions in which Soane himself lived. | 0:25:15 | 0:25:19 | |
The last seven years have seen the museum undergo an extensive | 0:25:21 | 0:25:24 | |
restoration project, to ensure it's indistinguishable | 0:25:24 | 0:25:28 | |
today from what Soane would have seen. | 0:25:28 | 0:25:31 | |
Bruce, 2016 was a fantastic year for the Sir John Soane's Museum, | 0:25:31 | 0:25:35 | |
the culmination of a seven-year restoration project | 0:25:35 | 0:25:39 | |
across this remarkable townhouse in the middle of London... | 0:25:39 | 0:25:43 | |
The staff here must be delighted with the | 0:25:44 | 0:25:47 | |
transformation of this institution? | 0:25:47 | 0:25:49 | |
Yes, we all are, in fact it's more than seven years, | 0:25:49 | 0:25:52 | |
it's really 30 years | 0:25:52 | 0:25:53 | |
because it started in the middle of the 1980s. | 0:25:53 | 0:25:56 | |
It was the beginning of this rethinking of how | 0:25:56 | 0:25:59 | |
can we bring the Soane back as nearly as possible | 0:25:59 | 0:26:03 | |
to the way it was in Soane's day, when he died in 1837. | 0:26:03 | 0:26:07 | |
Because we think of the Soane as like a fly in amber | 0:26:07 | 0:26:10 | |
but in fact it's changed constantly in its 180-year career. | 0:26:10 | 0:26:14 | |
And is there something very specific about a museum | 0:26:15 | 0:26:18 | |
focused on the vision of an individual man of | 0:26:18 | 0:26:23 | |
world-historic importance? You're wrestling with the | 0:26:23 | 0:26:26 | |
legacy of an individual, his meaning, | 0:26:26 | 0:26:29 | |
and then also the particularities of a house and the | 0:26:29 | 0:26:32 | |
nature of a home, even the apartment where he would live... | 0:26:32 | 0:26:35 | |
Yes, it's a good question. It always has to be a balance. | 0:26:35 | 0:26:40 | |
But fortunately, Soane, believed very much in contemporary art. | 0:26:40 | 0:26:44 | |
When he was building his collection, he invested | 0:26:44 | 0:26:47 | |
not only in antiquities, but also in contemporary | 0:26:47 | 0:26:52 | |
British art and he wanted his collection, | 0:26:52 | 0:26:54 | |
both the ancient and the modern, to serve as an inspiration | 0:26:54 | 0:26:57 | |
for future generations of architects, artists, | 0:26:57 | 0:27:01 | |
designers and the general public. | 0:27:01 | 0:27:03 | |
Tell us something about the Marc Quinn installations, | 0:27:03 | 0:27:06 | |
those are very dramatic pieces, which on the one hand | 0:27:06 | 0:27:09 | |
feel, arguably quite jarring within that environment, | 0:27:09 | 0:27:13 | |
and yet they seem to blend so well. | 0:27:13 | 0:27:15 | |
They are, essentially, variations on the embrace. | 0:27:15 | 0:27:19 | |
You have two bodies, the body of the dancer, who is his muse, | 0:27:19 | 0:27:24 | |
and then the sculptor's own arms embracing her. | 0:27:24 | 0:27:27 | |
So it has echoes of classical sculptures | 0:27:27 | 0:27:31 | |
of abduction, of Bernini. | 0:27:31 | 0:27:33 | |
The whole concept of the fragment really fits in to the museum. | 0:27:33 | 0:27:37 | |
And also, in different rooms with different works of art, | 0:27:37 | 0:27:42 | |
they take on a different aspect. | 0:27:42 | 0:27:44 | |
So that's it for this year. The votes have been cast | 0:27:50 | 0:27:53 | |
and all the nominees have gathered at the British Museum, | 0:27:53 | 0:27:56 | |
to find out who the winner is going to be. | 0:27:56 | 0:27:58 | |
The winner of the Art Fund's Museum of the Year 2017 is... | 0:28:02 | 0:28:07 | |
..The Hepworth Wakefield. | 0:28:08 | 0:28:10 | |
CHEERING | 0:28:10 | 0:28:11 | |
I'm not going to speak, except to say this is all down | 0:28:16 | 0:28:20 | |
to these people here. Most particularly, their leader, | 0:28:20 | 0:28:23 | |
Simon Wallis! Simon! | 0:28:23 | 0:28:26 | |
A huge congratulations to The Hepworth Wakefield, | 0:28:29 | 0:28:32 | |
for winning Museum of the Year 2017. | 0:28:32 | 0:28:34 | |
To play us out, we have a selection of highlights from | 0:28:34 | 0:28:37 | |
their collection. Enjoy... | 0:28:37 | 0:28:39 |