Alan Grieve CBE, Chairman
The consequences of Covid 19 continued throughout 2021 and were still with us as the year drew to a close. The wellbeing of the UK, financial challenges and global uncertainties and challenges continue alongside the accelerating dangers of climate change.
Jerwood has had no choice but to meet these challenges and do its utmost to preserve its course and priorities within its chosen fields. We have therefore directed our support to young people in the arts and education who are committed, achieving excellence, and have an entrepreneurial outlook within their work.
On a wider scale we were able to make a major £1 million grant to support individuals, mainly freelancers in theatre and music, who were suffering the consequences of the pandemic and lockdowns.
Also realised during 2021 we were one of the principal supporters and funders of a new medical education centre in Liverpool established by the Royal College of Physicians at The Spine: a new 13 storey building of striking design. One of the building's major attributes is the two simulated clinical suites situated on the 11th floor. These will enable the College to teach, train and examine young physicians in the advancing of their education and qualifications. They will be of considerable value and will avoid being a diversionary activity in a hospital environment. We hope that both individuals and the NHS will reap great advantages.
These two major grant initiatives overshadowed, but did not diminish, smaller grants such as to Scherzo Ensemble, a new young artists opera company, and Tracing Movement Reboot, a training programme to enable dancers to retain their fitness. We have also supported charities including Stand Up to Cancer, Salvation Army and Barnardos through the use of our Royal Albert Hall box.
Jerwood Collection opened its year-long residency at Harley Gallery, Nottinghamshire, in May; Jerwood Charity continued its programmes for early-career artists across the U.K. working in all artforms including the Live Work Fund and Jerwood Solo Presentations; Jerwood Space was finally able to reopen in September and has continued to recover its rehearsal strengths.
Since John Jerwood died in 1991, Jerwood has channelled over £108 million in capital and revenue funding in support of the arts and education in the UK.
Jerwood Blue Sky Fund (£1 million)
In response to the devasting impact of Covid-19 on freelancers working in the performing arts in the UK, Jerwood Foundation announced its Jerwood Blue Sky Fund in March 2021, a £1 million donation allocated equally to the Theatre Artists Fund and Help Musicians.
Tracing Movement Reboot
Jerwood Foundation supported Tracing Movement Reboot, a dance initiative set up by Stuart Winter and hosted at Jerwood Space: over 160 freelance dancers attended the programe and it gave them the opportunity to maintain their dance skills and continue to develop creatively.
'We as an industry have all been working so hard to stay alive and creative during the pandemic. The funding received for this project offered the chance to invest in dancers’ skills, health and future, providing space and time to rebuild and propel them back into our industry' - Stuart Winter
Support to Scherzo Ensemble enabled them to scale up their annual performance at Longhope Opera in Hampshire, and include a full-sized orchestra and chorus for the first time. Over 60 young artists took part in the opera performances. For most of them, Il Turco in Italia was their first production since the beginning of 2020 and for many, it was their first performance to a live audience. For some, it was their first opportunity to earn an income from their artistic performance in fifteen months.
Lara Wardle, Executive Director
Images: Scherzo Ensemble photo credit Louis Dutton; Tracing Movement Reboot photo credit Robin Kent Photography
The year-long Jerwood Collection residency at Harley Gallery, Nottinghamshire opened in May with A Curator's Choice selected by Jerwood Collection Director, Lara Wardle. Alongside 50 works from Jerwood Collection, a selection of audio recordings, borrowed from the British Library’s Artists’ Lives interviews, were available for visitors to listen to in an innovative dinner party display.
This exhibition was followed by Coast: Country: City, chosen by independent curator James Rawlin, which explored 20th and 21st century British artists' response to landscapes and city life.
The third exhibition of the residency, Kindred Spirits, in partnership with Outside In, a national charity that aims to provide a platform for artists who face significant barriers in the art world as a consquence of health, disability, social circumstance or isolation, opened in November. Five Outside In Artist Curators chose works from Jerwood Collection to be displayed alongside pieces from Outside In's Collection.
'This exhibition is the result of our first Curating Course, which has been designed to support a wider diversity of curators. It champions new voices and, in doing so, aims to break the traditional mould of organising and delivering exhibitions' - Marc Steene, Director, Outside In
Alongside the residency at Harley Gallery we also loaned St Rémy by Walter Richard Sickert RA to Walker Art Gallery's Sickert: A Life in Art exhibition (until 27 February 2022) and were pleased to extend our long-term loan of Crucifixion, painted in 1994 by Craigie Aitchision RA to Hereford Cathedral.
In June Jerwood Collection joined Gallery Climate Coalition and, during the year, we undertook a carbon audit and are committed moving forwards to implement changes to reduce our carbon footprint and waste. Also we are looking at how to pack, store, and move Jerwood Collection works in future years in a carbon reduced way.
Images: Coast, Country, City photo courtesy of Harley Gallery and Alex Wilkinson Media; A Curator's Choice photo courtesy of Harley Gallery; Crucifixion by Craigie Aitchison RA hanging at Hereford Cathedral photo courtesy Mike Fear.
ROBERT POLHILL BEVAN (1865-1925)
A Public House, St. John's Wood, circa 1910.
Courtesy of Jerwood Collection. © The Artist.
BARBARA WALKER, MBE (b. 1964)
Vanishing Point 13 (Veronese), 2020
Courtesy of Jerwood Collection. © The Artist.
PAULA REGO DBE RA (b. 1935)
The Encampment, 1989
Courtesy Paula Rego and Cristea Roberts Gallery, London © Paula Rego
Our alumni continued to make their mark: Penguin will publish Jerwood Compton Poetry Fellow Yomi Ṣode’s first collection Manorism and he won four Black British Theatre Awards for and breathe...; Jerwood Solo Presentations artist Emii Alrai’s Aldgate Square Commission from Sculpture in the City; and Array, who we commissioned for Collaborate! in 2019, won the Turner Prize.
The Weston Jerwood Creative Bursaries 2019-22, focusing specifically on early-career creatives from low socio-economic backgrounds, welcomed 50 Fellows into jobs at their host organisations. We delivered a digital peer-learning programme throughout the year culminating in an in-person event at Dulwich Picture Gallery. The launch of the Jerwood Curatorial Accelerator has also been welcomed.
We offered five open call and one nominations-based opportunities across the year. Five Jerwood Art Fund Makers Open 2022 awardees in May, two Jerwood/Photoworks Awards 2022 artists in September and three Jerwood Compton Poetry Fellows were announced in November. We designed the 1:1 FUND, an opportunity for two artists to collaborate in response to the isolating effect of Covid-19. The selection was made using a random number generator to pilot a new approach.
If the previous year was full of pause and adaptation, 2021 gave us the opportunity to review our impact and brought a reinvigorated sense of purpose.
Rupert Tyler, Chairman
Lilli Geissendorfer, Director
Images: Emii Alrai, Passing of the Lilies, 2021. Commissioned for Jerwood Solo Presentations 2021, supported by Jerwood Arts. Photo Anna Arca; Weston Jerwood Creative Bursaries Class of 2020/21; Geophonic, photo credit Brent Jones. NDT Broadgate; Live Work Fund. Jamal Gerald, image credit JMA Photography; Survey II artists at exhibition launch at g39, 2021. Photo Mirren Kessling.
The last 12 months have been anything other than a typical year. Emerging from the winter gloom of Lockdown 2, we were, as ever, as flexible and pragmatic as possible in our approach to utilising the building as best we could under the restrictions imposed. We were, briefly, a depot for NHS blood banks, a film set for the new Chris Pine thriller and a potential site for a vaccination centre before tentatively opening in April for Guildhall School of Music and Drama to rehearse two of their final year shows - Anne Washburn’s Mr Burns, directed by Chelsea Walker, and Bola Agbaje’s Gone Too Far! directed by former JMK Emerging Director winner Tristan Fynn-Aiduenu.
Whilst theatres were still dark, we were able to support two initiatives in a covid-safe fashion with our revised capacities under Stage 2 restrictions. The first of these was a course devised by Ed Bennett, Iqbal Khan and Benet Brandreth to explore the use of rhetoric in Shakespeare’s speeches and its application in contemporary settings, using professional actors and invited local school children. We were also pleased to welcome back Stuart Winter, James McKeown and Natasha Volley for the return of their Tracing Movement Reboot series of classes. Reboot ran a series of 23 free classes in Space 7, benefitting over 160 professional dancers who had been unable to train over lockdown.
Image: Tracing Movement Reboot photo credit Robin Kent Photography
Local schoolchildren took part in a project that offered students the opportunity to work with professionals within the entertainment industry on the use of rhetoric within Shakespeare and beyond. The newly formed Khebra Theatre Company led by theatre director Iqbal Khan, actor Edward Bennett and rhetoric expert Benet Brandreth, gathered a network of professionals with extensive experience in all areas of the industry to work with the students.
Video: Ed Bennett and Iqbal Khan courtesy of Jimmy Goodwin.
Rehearsals started again at Jerwood Space for The Lion King. Videographers were on hand to capture the emotional moment when the cast reunited and sang "Circle of Life" together for the first time in many months.
Large scale productions started to return from the middle of May, and this time our car park was transformed into a covid testing centre under canvas as every performer and member of stage crew were tested before entering the building. As restrictions lifted, so the scale and number of shows increased and it was gratifying to rehouse the rehearsals that had been postponed over the previous 18 months and finally see them playing to an audience. Some shows had benefitted from the enforced break (Hannah Kumari, who rehearsed, wrote and performed in her football play Eng-er-land, directed by Rikki Beadle-Blair, profited from the rescheduled Euro 2020 competition as she was able to get traction from the subsequent publicity) and others had gone through creative changes whilst waiting to open, Get Up Stand Up and Theatre Royal Bath’s Copenhagen both returning with different directors, Clint Dyer and Emma Howlett respectively.We were still able to offer the same range of subsidised space alongside the larger shows, whilst dividing the building into a variety of zones to ensure “bubble integrity”.
The events and meetings which form such an important part of our income stream have, by necessity, taken a backseat over the year which has obviously also had a detrimental impact on the Gentlemen Baristas ability to operate our catering in their usual manner. We hope to return to a pre-pandemic level of service during 2022.
Advanced enquiries for the next twelve months have been hugely positive so we remain cautiously optimistic about the year ahead and our continuing ability to house rehearsals for shows playing nationwide from the smallest subsidised presentations to the largest commercial productions.
Chris Cotton, Chairman
Peter Wilkinson, Director
Image: SIX 2021 image courtesy of Josh Bird. Get Up Stand Up image courtesy of Joanna Ampil.