V&A East’s plans to shake up the art world with community-inspired museum and storehouse

Published

2 years ago

December 28, 2022

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Gus Casely-Hayford is a man on a mission to open up and diversify the arts sector.

As founding director of V&A East – one of the world’s most significant new museum projects and part of the mayor of London’s £1.1bn Olympic legacy project – he knows that shifting the canon won’t necessarily be easy.

Casely-Hayford told Sky News: “There are challenges that we have in this country… Years of museum tradition based around particular narratives.

“There’s a fairly conservative bedrock upon which we have to begin to build new narratives. Think about how we can actually include voices that it may have felt acceptable to marginalise a generation ago.”

Based in Stratford’s Queen Elizabeth Olympic Park, V&A East will bring two brand new arts venues to East London – a five-storey, 7,000 square meter museum on the waterfront, and a vast glass and brick storehouse, offering more than 250,000 curated items for public view, just a 10-minute walk away.

Balenciaga inspired

Based on an X-Ray of a Balenciaga ballgown, and informally dubbed “the crab”, the museum will form part of a new cultural quarter collectively known as East Bank, nestling alongside a Sadler’s Wells dance theatre, BBC recording and performance studios and UAL’s London College of Fashion.

In a world where many consider the arts to be for the privileged few rather than the many, Casely-Hayford says his bid to highlight under-represented voices is clear cut.

He said: “These are our spaces paid for with our tax money. We should all be getting the benefit.”

Having moved back from the US to take up the role (he was previously director of the Smithsonian, National Museum of African Art in Washington DC), Casely-Hayford has applied a fresh view to the British art scene.

He said: “Art is one of the things that we do better than anyone else. You look at the sorts of people who represent us best at the Oscars or in music, and they represent the cultural diversity of our nation.

“I would love it if in the museum sector, if we could really get on board with that, invest in that, but not just do it in terms of the art that we display on our walls, but also the people who curate our spaces.”

The Global South

The museum will collect work from around the world, prioritising issues from the Global South – Latin America, Asia, Africa, and Oceania.

And far from being a modern obsession or trendy buzzword, Casely-Hayford believes diversity is woven into the very fabric of being British.

He said: “The thing that makes me proud is that we are a diverse nation. You think about our national flag, that we didn’t choose a tricolour.

“We chose a flag which demonstrates the differences and how we come together, that we are a number of different nations. We accept diversity, complexity, and we want our space to be able to tell those stories.

“All of that cultural complexity, the stories of empire, of enslavement, of all these difficult things. But also, the transcendent stories of how through creativity, we can come together as one.

“We can be a single nation that celebrates greatness, goodness, that celebrates the sorts of things that inspire a new generation.”

‘An engine of transformation’

And he says aside from artists and curator diversity, attention must be turned to both the visitors and staff of the museum too.

“We want to build this institution from the ground up, for and with our local communities. We want it to reflect their need,” he said.

“When it opens in 2025 and you come into our space, I’m hoping that you’ll be welcomed by people who demonstrate the kind of cultural complexity of the people that live in and around this area.”

Not a man to rest on his laurels, he’s quite literally got on his bike to share news of the new spaces to secondary schools in the area, in a bid to talk to 100,000 young people.

It is his ambition that one of the children who walks through the museum doors will go on to have their art on the walls, or even one day claim his job.

Calling the spaces “an engine of transformation”, he wants the younger generation to see the creative industries as a viable profession, as he says, “not from the margins, not feeling they’re part of the peripheral, but right in the bedrock of institutions like V&A East”.

Holding institutions to account

Ahead of these potential new opportunities, emerging artist Heather Agyepong says the last two years have been transformational in black British art, offering her a position of power as an artist for the first time.

She told Sky News: “I think since George Floyd was murdered, and the black uprisings, there’s been a real thirst and a kind of embarrassment about the lack of black British art in collections.

“In 2020, all of these institutions gave these massive pleas and dedications to include more black British art, which has been amazing. But I think now, two years on, you’re seeing that some of it was a little bit performative, or for optics.

“For me as an artist now, I feel I can hold those intuitions accountable because they made all of these claims, and I can go back and say, ‘what are you doing to address your collections? What are you doing to address the inclusion of black British art?’

“I feel quite empowered now, as an artist moving forward.”

However, she admits she wasn’t always as clued up about the rich heritage of the UK’s black artists.

She said: “I did an MA at Goldsmiths in 2013, and that was my first introduction to black British art, before then, I think I didn’t even know black British artists existed, if I’m honest.

“My course convenor, Paul Halliday, opened my eyes to what that whole movement looked like. And I remember, I was just stunned, and I felt like, ‘why did no one tell me this?’, because I always felt I was by myself. So, that course was really instrumental in understanding the legacy of us as artists.”

‘Small and in the corner’

Speaking about her latest exhibition, Ego Death, which includes oversized fabric triptychs, one inspired by Oscar winning film Get Out, she says: “There’s a thing sometimes about black artists, we feel like we can’t take up space, that we’ve kind of got to be small and in the corner. Be kind of apologetic.”

She credits artists including Turner Prize winning Lubaina Himid, Sonya Boyce and Claudette Johnson – who all came to prominence during the UK Black Arts movement (BAM) of the 1980s – as “paving the way” for her, adding: “I wouldn’t be here without them.”

Lisa Anderson, managing director of the Black Cultural Archives (BCA), also credits the movement with inspiring her to pursue a career in the arts.

For her latest exhibition, Transforming Legacies, which celebrates the 40th anniversary of BAM, she reunited more than 50 artists of African and Caribbean ancestry to recreate the iconic 1958 A Great Day In Harlem photo.

Anderson says improving representation across the board is a matter of teamwork.

“We need allyship as well. We need collaboration from galleries, other researchers, universities, auction houses so that they can validate and support the growth of the work from these artists,” she said.

Culture wars

As government funding has dried up, sustained support needed to give communities a level footing has dropped away.

But in the face of adversity, Anderson is hopeful: “We’re in the midst of a culture war with some key figures in the government questioning the importance of equality and inclusion and questions of diversity. So, it is very discombobulating.

“But I think the momentum for focus on artists from the African diaspora in a meaningful, inclusive way is something to be hopeful about. I’m definitely going to be joining hands with other organisations, other key leaders within the UK and internationally to keep that going for the long term.

“What would be horrendous, is if 20 years from now, we’re having to have a similar conversation. I don’t want that to be the case. I just want this conversation to expand.”

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V&A East Storehouse will open in 2024 and V&A East Museum will open in spring 2025.

Transforming Legacies is on show at Black Cultural Archives, Brixton, until 31st January 2023.

Heather Agyepong’s, Ego Death exhibition was first shown at the Jerwood Space, London, in 2022 and will tour to Belfast Exposed, Northern Ireland, in 2023. Her solo exhibition, Wish You Were Here, will be showing at the new Centre for British Photography from January and her work will be included in Photo50 at the London Art Fair in the new year. She will also be appearing in Amazon Prime’s forthcoming thriller The Power.

Entertainment

Aimee Lou Wood hits out at ‘mean and unfunny’ SNL joke

Published

20 hours ago

April 14, 2025

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Aimee Lou Wood hits out at 'mean and unfunny' SNL joke

The White Lotus star Aimee Lou Wood has called a sketch making fun of her teeth “mean and unfunny”.

The 31-year-old British actress posted an Instagram story about the joke on US TV show Saturday Night Live (SNL), in which comedian Sarah Sherman used exaggerated prosthetic teeth to do an impression of her.

In the skit, titled The White Potus, Donald Trump and his family were reimagined as The White Lotus’s Ratliff family, dealing with the backlash to the US president’s recently introduced tariffs.

The third season of Mike White’s hit hotel drama has just concluded on Sky Atlantic.

While the other characters in the skit were shown in the guise of real-life political figures, Wood, who plays Chelsea in the show, was show in character talking about a monkey.

Wood, who shot to fame on Netflix’s Sex Education, said she was the only character in the piece that was “punched down on”.

She also said a part of the parody that joked about fluoride, following recent debates in the US as to if it should be removed from the tap water, was missing the point as she has “big gap teeth not bad teeth”.

Wood wrote: “Yes, take the piss for sure – that’s what the show is about – but there must be a cleverer, more nuanced, less cheap way?”

The Stockport-born star also flagged Sherman’s poor attempt at a Mancunian accent.

But Wood went on to say that she wasn’t “hating” on Sherman personally, just “on the concept”.

Wood also flagged an online comment that said: “It was a sharp and funny skit until it suddenly took a screeching turn into 1970s misogyny,” adding, “This sums up my view”.

After sharing her opinions, Wood said she had received “thousands of messages in agreement” and so was “glad I said something”.

Wood shared comments of support she had received.

One, from an unnamed fan, said she too had “a big gap” in her teeth, as well as “an overbite” and that while she had been previously considering “spending thousands on fixing it,” seeing Wood look “gorgeous” on The White Lotus had made her reconsider.

Wood said SNL has since apologised to her.

Wood previously said, during an appearance on The Jonathan Ross Show, that the positive reception to her performance was “a real full-circle moment after being bullied for my teeth forever”.

NBC, which airs SNL, has been contacted for comment.

Entertainment

Upstairs, Downstairs actress Jean Marsh dies

Published

1 day ago

April 13, 2025

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Upstairs, Downstairs actress Jean Marsh dies

Jean Marsh, star of Upstairs, Downstairs, has died aged 90, a friend has confirmed.

Marsh’s friend, director Sir Michael Lindsay-Hogg, said in a statement to the PA news agency that the actress “died peacefully in bed looked after by one of her very loving carers”.

“You could say we were very close for 60 years,” he added. “She was as wise and funny as anyone I ever met, as well as being very pretty and kind, and talented as both an actress and writer.

“An instinctively empathetic person who was loved by everyone who met her. We spoke on the phone almost every day for the past 40 years.”

Marsh was best known for her role as Rose in Upstairs, Downstairs, for which she won an Emmy for outstanding lead actress in a limited series in 1976.

She co-created the series – about life in Edwardian England – with Dame Eileen Atkins.

Born on 1 July 1934 in Stoke Newington, north London, Jean Lyndsey Torren Marsh’s mother worked in a bar and as a theatre dresser, while her father was a handyman and printer’s assistant.

Marsh took dance and mime classes as therapy for an illness at a young age, and began acting on stage with a stint at Huddersfield Rep in the 1950s.

She then transferred to London, and at just 12 years old made her West End debut in The Land Of The Christmas Stockings at The Duke of York’s Theatre.

A success in the US, Marsh appeared in iconic shows such as The Twilight Zone, Danger Man, Hawaii Five-O and Murder, She Wrote.

She also made appearances in classic British shows, including Doctor Who – where she played William Hartnell’s short-lived companion Sara Kingdom – and Detective.

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Entertainment

Erin Brockovich: ‘My chiropractor saw mud on my stiletto – I said, I’ve been collecting dead frogs’

Published

3 days ago

April 12, 2025

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Erin Brockovich: 'My chiropractor saw mud on my stiletto - I said, I've been collecting dead frogs'

Erin Brockovich says a chance conversation about a muddy stiletto with her chiropractor led to the making of the award-winning film about her life.

The climate activist, who was played by Julia Roberts in the movie, told Sky News: “My girlfriend, who was a chiropractor, was giving me a chiropractic adjustment and asked me why I had mud on my stilettos.

“I said, ‘Oh, I’ve been collecting dead frogs’. She goes, ‘What is wrong with you?’ So, I started telling her what I was doing.”

Then just a junior paralegal, Brockovich was in fact pulling together evidence that would see her emerge victorious from one of the largest cases of water contamination in US history in Hinkley, California.

Her hard work would see her win a record settlement from Pacific Gas & Electric Company – $333m (£254m) – but that was all still to come.

Little did Brockovich know, but her tale of a muddy stiletto would get back to actor Danny DeVito and his Jersey Films producing partner Michael Schamburg, and through them to the film’s director Steven Soderbergh.

Brockovich says Soderbergh was “wowed” by what he heard.

She says he realised her image “was something that Hollywood might be drawn to that I was never thinking of – the short skirt, the attitude, the big bust, the stilettos, the backcombed hair. Somehow, it came together.”

‘I was always going to be misunderstood’

Released in 2000, the powerful story of one woman’s fight for justice made Brockovich a household name, and the film won actress Julia Roberts an Oscar.

Now, 25 years on, Brockovich says she believes her legal victory was helped in part by an unlikely ally – her learning difficulty.

Brockovich says: “Had I not been dyslexic, I might have missed Hinkley.”

Recently named a global ambassador for charity Made By Dyslexia, she’s been aware of her learning differences since childhood and still struggles today.

She says “moments of low self-esteem” still “creep back in”, and she long ago accepted “I was always going to be misunderstood”.

But for Brockovich, recognising her dyslexic strengths while working in Hinkley proved a pivotal moment: “My observations are wickedly keen. I feel like a human radar some days… Things you might not see as a pattern, I recognise. There are things that intuitively, I absolutely know.

“It will take me some time in my visual patterns of what I’m seeing, how to organise that. And it was in Hinkley that that moment happened for me because it was so omnipresent [and] in my face. Everything that should have been normal was not.”

‘A huge perfect storm’

Brockovich paints a bleak picture of what she saw in the small town: “The trees were secreting poison, the cows were covered in tumours, the chickens had wry neck [a neurological condition that causes the head to tilt abnormally], the people were sick and unbeknown to them, I knew they were all having the exact same health patterns. To the green water, to the two-headed frog, all of that was just I was like on fire, like electricity going, ‘Oh my gosh, what’s going on out here?'”

She describes it as “a huge, perfect storm that came together for me in Hinkley”.

But a side effect of the movie – overnight global fame – wasn’t always easy to deal with.

Brockovich calls it “scary,” admitting, “when the film first came out the night of the premiere, I was literally shaking so bad, I was so overwhelmed, that Universal Studios said, ‘If we can’t get you to calm down, I think we need to take you home’. It was a lot”.

Brockovich says she kept grounded by staying focused on her work, her family and her three children.

With Hollywood not always renowned for its faithful adherence to fact, Brockovich says the film didn’t whitewash the facts.

“I think they really did a good job at pointing out our environmental issues. Hollywood can do that, they can tell a good story. And I’m glad it was not about fluff and glamour. I’m glad it was about a subject that oftentimes we don’t want to talk about. Water pollution, environmental damage. People being poisoned.”

‘Defend ourselves against environmental assaults’

While environmental awareness is now part of the daily conversation in a way it wasn’t a quarter of a century ago, the battle to protect the climate is far from over.

Just last month, Donald Trump laid out plans to slash over 30 climate and environmental regulations as part of an ongoing effort to boost US industries from coal to manufacturing and ramp up oil and minerals production.

In response, Brockovich says, “We’re not going to stop it, but we can defend against these environmental assaults.

“We can do better with infrastructure. We can do better on a lot of policy-making. I think there’s a moment here. We have to do that because the old coming into the new isn’t working.

“I’ve recognised the patterns for 30-plus years, we just keep doing the same thing over and over and over and over again, expecting a different result.

“For me, sometimes it’s like, ‘Oh my gosh, just get your ego out of the way’. We have to accept that this might be something greater than us, but we can certainly defend ourselves and protect ourselves and prepare ourselves better so we can get through that storm.”

You can listen to Brockovich speaking about her dyslexia with Made By Dyslexia founder Kate Griggs on the first episode of the new season of the podcast Lessons In Dyslexic Thinking, wherever you get your podcasts.