V&A East’s plans to shake up the art world with community-inspired museum and storehouse
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.
V&A East Museum in Queen Elizabeth Olympic Park. Pic: Victoria & Albert Museum
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.
X-ray of a silk taffeta Balenciaga evening dress, Paris, 1954. Pic: Nick Veasey, 2016
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.
An early concept image for V&A East Museum. Pic: JA Projects
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.
Dystopia to Utopia performance. Pic: V&A/Antony Jones
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.
Heather Agyepong, visual artist and actor. Pic: Hydar Dewachi
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.
Ego death at Jerwood Space, supported by Photoworks. Pic: Anna Arca
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
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.
Black British artists gather for a photograph inspired by Art Kane’s A Great Day in Harlem. Pic: David Kwaw Mensah
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
Sean ‘Diddy’ Combs admits ‘past wrongs’ in letter to judge – hours before his sentencing
Sean “Diddy” Combs has apologised and taken “full responsibility” for “all of the hurt and pain” he has caused others in a letter to the court, less than 24 hours before he is due to be sentenced.
The hip-hop mogul did not give evidence during his trial earlier this year, so this is the first time he has addressed Judge Arun Subramanian.
Combs was convicted of two prostitution-related charges in July, following a trial lasting almost eight weeks, but was cleared of more serious charges of sex trafficking and racketeering conspiracy.
In the letter, the 55-year-old admits “past wrongs” but says he is no longer running from his “many mistakes”.
He also addresses the infamous CCTV footage from an LA hotel in 2016, which showed him attacking his former girlfriend Cassie Ventura.
“First and foremost, I want to apologise and say how sincerely sorry I am for all of the hurt and pain that I have caused others by my conduct,” Combs writes. “I take full responsibility and accountability for my past wrongs.”
Please use Chrome browser for a more accessible video player
How the Diddy trial unfolded
The rapper describes the last two years – which started with a civil lawsuit filed by Cassie in November 2023 – as the “hardest” of his life, but admits: “I have no one to blame for my current reality and situation but myself.”
Since his arrest in September 2024 and subsequent time in prison, the rapper says he has “had to look in the mirror like never before” and admits his “downfall was rooted in my selfishness”.
Combs is due to be sentenced on Friday and faces a maximum of 20 years in prison.
Prosecutors have called for at least 11 years, while his defence team argues he should serve no more than 14 months. The latter would see him walk free almost immediately after time already served.
His letter comes after several filed by witnesses who testified during the trial, including Cassie, who has urged the judge not to be lenient and expressed fears for her safety.
She alleged on the witness stand that she was coerced and sometimes blackmailed into taking part in sex sessions with male escorts. Combs has strenuously denied allegations of sexual abuse, and jurors cleared him of sex trafficking, only finding him guilty of the charges relating to hiring the sex workers.
However, his legal team admitted from the beginning that he had been violent in the past.
Read more from Sky News:
Lawsuit over Nirvana album art thrown out for second time
Eurovision to hold emergency vote on Israel
Cassie Ventura gave evidence during the trial. Pic: Reuters/Jane Rosenberg
‘I could not forgive anyone putting a hand on one of my daughters’
Talking about the 2016 CCTV footage – which showed Combs, wearing only a towel and socks, attacking Cassie in a hallway – he says in his letter: “The scene and images of me assaulting Cassie play over and over in my head daily.
“I literally lost my mind. I was dead wrong for putting my hands on the woman that I loved. I’m sorry for that and always will be. My domestic violence will always be a heavy burden that I will have to forever carry. The remorse, the sorrow, the regret, the disappointment, the shame.”
He goes on to say he feels sorry “for something that I couldn’t forgive someone else for: if they put their hands on one of my daughters.”
The footage was played several times during his trial after first being made public by CNN in May 2024.
The hip-hop mogul also references “Jane”, another former girlfriend who testified against him in court, who did not give her real name.
“I thought I was providing for Jane concerning her and her child, but after hearing her testimony, I realised that I hurt her,” he writes. “For this I am deeply sorry. I lost my way … Lost in the drugs and the excess.”
Combs fell to his knees when the verdict was delivered. Pic: Reuters/Jane Rosenberg
‘The old me died in jail’
Combs goes on to describe his time in prison, saying he has been “humbled and broken to my core” and that there “have been so many times that I wanted to give up”.
“The old me died in jail and a new version of me was reborn. Prison will change you or kill you – I choose to live.”
Combs says he has had therapy and has been “working diligently to become the best version” of himself, and that there has been some good to come out of his time in prison.
“For starters, I am now sober for the first time in 25 years. I have been trying my best to deal with my drug abuse and anger issues and take accountability as well as positive steps towards healing.”
Asking Judge Subramanian for “mercy” for himself, his seven children and his 84-year-old mother, he says: “I have failed my children as a father. My father was murdered when I was three years old so I know first-hand what it is to not have a father. More than anything, I just want the opportunity to return home and be the father that they need and deserve.”
Combs goes on to say he is “scared to death” at the thought of spending more time away from his family, and that he no longer cares “about the money or the fame”.
And as previously detailed by his lawyers, he describes conditions at the Metropolitan Detention Centre in Brooklyn as inhumane – but says he is not looking for “pity or sympathy”, and that his time there has “changed me forever!”.
Combs concludes by vowing to never commit another crime again: “I can’t change the past, but I can change the future … I’m committed to the journey of remaining a drug free, non-violent and peaceful person.
“Today, I humbly ask you for another chance – another chance to be a better father, another chance to be a better son, another chance to be a better leader in my community, and another chance to live a better life.”
Entertainment
Sean ‘Diddy’ Combs admits ‘past wrongs’ in letter to judge – hours before his sentencing
Sean “Diddy” Combs has apologised and taken “full responsibility” for “all of the hurt and pain” he has caused others in a letter to the court, less than 24 hours before he is due to be sentenced.
The hip-hop mogul did not give evidence during his trial earlier this year, so this is the first time he has addressed Judge Arun Subramanian.
Combs was convicted of two prostitution-related charges in July, following a trial lasting almost eight weeks, but was cleared of more serious charges of sex trafficking and racketeering conspiracy.
In the letter, the 55-year-old admits “past wrongs” but says he is no longer running from his “many mistakes”.
He also addresses the infamous CCTV footage from an LA hotel in 2016, which showed him attacking his former girlfriend Cassie Ventura.
“First and foremost, I want to apologise and say how sincerely sorry I am for all of the hurt and pain that I have caused others by my conduct,” Combs writes. “I take full responsibility and accountability for my past wrongs.”
Please use Chrome browser for a more accessible video player
How the Diddy trial unfolded
The rapper describes the last two years – which started with a civil lawsuit filed by Cassie in November 2023 – as the “hardest” of his life, but admits: “I have no one to blame for my current reality and situation but myself.”
Since his arrest in September 2024 and subsequent time in prison, the rapper says he has “had to look in the mirror like never before” and admits his “downfall was rooted in my selfishness”.
Combs is due to be sentenced on Friday and faces a maximum of 20 years in prison.
Prosecutors have called for at least 11 years, while his defence team argues he should serve no more than 14 months. The latter would see him walk free almost immediately after time already served.
His letter comes after several filed by witnesses who testified during the trial, including Cassie, who has urged the judge not to be lenient and expressed fears for her safety.
She alleged on the witness stand that she was coerced and sometimes blackmailed into taking part in sex sessions with male escorts. Combs has strenuously denied allegations of sexual abuse, and jurors cleared him of sex trafficking, only finding him guilty of the charges relating to hiring the sex workers.
However, his legal team admitted from the beginning that he had been violent in the past.
Read more from Sky News:
Lawsuit over Nirvana album art thrown out for second time
Eurovision to hold emergency vote on Israel
Cassie Ventura gave evidence during the trial. Pic: Reuters/Jane Rosenberg
‘I could not forgive anyone putting a hand on one of my daughters’
Talking about the 2016 CCTV footage – which showed Combs, wearing only a towel and socks, attacking Cassie in a hallway – he says in his letter: “The scene and images of me assaulting Cassie play over and over in my head daily.
“I literally lost my mind. I was dead wrong for putting my hands on the woman that I loved. I’m sorry for that and always will be. My domestic violence will always be a heavy burden that I will have to forever carry. The remorse, the sorrow, the regret, the disappointment, the shame.”
He goes on to say he feels sorry “for something that I couldn’t forgive someone else for: if they put their hands on one of my daughters.”
The footage was played several times during his trial after first being made public by CNN in May 2024.
The hip-hop mogul also references “Jane”, another former girlfriend who testified against him in court, who did not give her real name.
“I thought I was providing for Jane concerning her and her child, but after hearing her testimony, I realised that I hurt her,” he writes. “For this I am deeply sorry. I lost my way … Lost in the drugs and the excess.”
Combs fell to his knees when the verdict was delivered. Pic: Reuters/Jane Rosenberg
‘The old me died in jail’
Combs goes on to describe his time in prison, saying he has been “humbled and broken to my core” and that there “have been so many times that I wanted to give up”.
“The old me died in jail and a new version of me was reborn. Prison will change you or kill you – I choose to live.”
Combs says he has had therapy and has been “working diligently to become the best version” of himself, and that there has been some good to come out of his time in prison.
“For starters, I am now sober for the first time in 25 years. I have been trying my best to deal with my drug abuse and anger issues and take accountability as well as positive steps towards healing.”
Asking Judge Subramanian for “mercy” for himself, his seven children and his 84-year-old mother, he says: “I have failed my children as a father. My father was murdered when I was three years old so I know first-hand what it is to not have a father. More than anything, I just want the opportunity to return home and be the father that they need and deserve.”
Combs goes on to say he is “scared to death” at the thought of spending more time away from his family, and that he no longer cares “about the money or the fame”.
And as previously detailed by his lawyers, he describes conditions at the Metropolitan Detention Centre in Brooklyn as inhumane – but says he is not looking for “pity or sympathy”, and that his time there has “changed me forever!”.
Combs concludes by vowing to never commit another crime again: “I can’t change the past, but I can change the future … I’m committed to the journey of remaining a drug free, non-violent and peaceful person.
“Today, I humbly ask you for another chance – another chance to be a better father, another chance to be a better son, another chance to be a better leader in my community, and another chance to live a better life.”
Actress Dame Patricia Routledge, best known for TV show Keeping Up Appearances, has died aged 96, her agent has said.
“We are deeply saddened to confirm the passing of Dame Patricia Routledge, who died peacefully in her sleep this morning surrounded by love,” her agent said in a statement.
“Even at 96 years old, Dame Patricia’s passion for her work and for connecting with live audiences never waned, just as new generations of audiences have continued to find her through her beloved television roles.
“She will be dearly missed by those closest to her and by her devoted admirers around the world.”
Dame Patricia played the notoriously snobbish Hyacinth Bucket in the BBC sitcom between 1990 and 1995, which attracted as many as 13 million viewers at its peak.
She earned two BAFTA nominations for the role in 1992 and 1993.
Keeping Up Appearances co-stars Mary Millar, Patricia Routledge and Judy Cornwall. Pic: PA
Another of her notable 90s TV appearances came when she played a pensioner-turned-detective in the £3m six-part BBC TV crime series Hetty Wainthropp Investigates.
She also had a prolific career in the theatre, winning an Olivier Award for her role as the Old Lady in acclaimed composer Leonard Bernstein’s operetta Candide in 1988, and a Tony Award for her part as Alice Challice in Darling Of The Day in 1968.
The actress was honoured at Buckingham Palace in 2017, being made a Dame Commander of the British Empire for her services to the theatre and charity.
Pic: PA
She was born in Birkenhead, Merseyside in 1929, and went on to study English Language and Literature at the University of Liverpool, where she appeared in student shows before making her professional debut at the Liverpool Playhouse in 1952, playing Hippolyta in A Midsummer Night’s Dream.
Years later, after her career skyrocketed, she spoke of how important her northern roots were to her.
“You are never done with your roots. I think the people who try to make out that they are, are in deep trouble,” she was once quoted.
Dame Patricia made her debut on a London stage in 1954, quickly establishing herself as a major character actress.
She also became a Broadway star, wowing New York critics with her performance in the play How’s The World Treating You? and appearing in numerous musicals.
Dame Patricia rehearsing alongside Michael Graham Cox for How’s the World Treating You? in 1966. Pic: PA
Later, Leonard Bernstein penned solos especially for her as she starred in the presidential drama 1600 Pennsylvania Avenue.
Though she was best known for embodying Hyacinth Bucket in the ’90s, she made memorable TV appearances from the 1950s.
Notable roles included Victoria Regina for Granada in 1964 and Kitty in Victoria Wood: As Seen on TV in the mid-1980s.
More recently, in 2017, Dame Patricia fronted a Channel 4 documentary celebrating the 150th anniversary of the birth of Beatrix Potter, having previously played the children’s author on stage and in 2012.
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