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Stephen Beddoe shares the route he took to his current role.

Stephen Beddoe

PROGRAMME MANAGER
Artquest (2001–present)
I joined Artquest to launch and develop the programme. Nine years on, it is an established and respected part of the visual arts landscape in the UK and beyond. Artquest provides advice, information and opportunities to visual artists and craftspeople. I tend now to focus on the strategic issues, partnerships and collaborations, particularly Artquest’s role in contributing to the wealth and prosperity of the visual arts and to cultural policy in the UK.

COMMISSIONS MANAGER Modus Operandi Art Consultants & PACA (1997–2001)
I gained a wealth of experience, particularly learning to negotiate with public and private sector clients and to support artists in the commissioning process. Art in the public realm is a complex area where specialist skills are needed, as you are dealing with a broad range of professionals including artists, architects and planners. A great deal of sensitivity is needed when also engaging with the communities where the works will eventually be sited.

VISUAL ARTS & CRAFTS OFFICER London Arts Board (1995–1997)
This post was a massive learning curve for me, as I had never worked in London before and so knew next to nothing about the personalities, relationships (and rivalries) that make up the visual arts sector in London. It also coincided with the launch of the Arts Lottery, so the workload was phenomenal. This was a really challenging job, but looking back it was a fantastically rich and rewarding experience, we funded some great projects, my colleagues (particularly John Kieffer and Holly Tebbutt) were great to work with, and I built some very strong working relationships which still exist.

HARKNESS FELLOWSHIP The Commonwealth Fund, USA (1994–1995)
The Harkness Fellowship (the UK’s reciprocal Rhodes Scholarship) is very well know in the science, medical and public policy worlds, but less so in the arts. I was based in San Francisco, investigating the contribution of the arts to city economies and infrastructures. I also had a secondment to the New York City Department of Cultural Affairs, getting involved in the unforgiving world of NYC cultural politics. I was with a group of very bright UK public policy people (many of whom who went on to be key in the new Blair government) so it was fascinating. The fellowship is incredibly well resourced and you’re involved in key policy seminars during your time in the USA.

ARTIST, ART CONSULTANT College Lecturer & Technician (1987–1995)
Like many young artists following my post-graduate course at The Glasgow School of Art in the late 1980s, I supported my studio practice with a portfolio of other work (all related to the creative sector) including teaching. With a group of other Glasgow artists I also created props and sets for television, film and theatre and did sculptural designs for shops and nightclubs. As a practitioner, I undertook commissions and residencies in hospitals, schools, and in a Glasgow housing scheme called Drumchapel. It was a fascinating time for art and culture in Glasgow.