Artist Managers: Artist management’s new home in Somerset House

The Somerset House buildings we know today were helping to underpin London’s — and the nation’s — cultural life as far back as the late 18th century, when, for example, the Royal Academy and the Society of Antiquaries occupied space in the building. In more recent years it has earned a national reputation as a creative/arts hub, home (as Somerset House Trust director Jonathan Reekie puts it) ‘to many of the brightest and most innovative artists, makers, freelancers and creative businesses in London, with a range of work options available from studios to shared workspaces to dedicated offices. Anyone working from Somerset House becomes part of a dynamic, expansive and mutually supportive creative network.’

Now an artist management dimension has been added to the mix. Having been based at Somerset House a good few years, the International Artist Managers’ Association now finds itself joined by a growing band of its member companies, from sizeable outfits to one-person-bands. Word is that one factor has been the departure of a significant number of Somerset House tenants during the Covid crisis and the consequent willingness of the venue authorities to open doors to the kind of commercial activity represented in the artist management profession.

Larger artist managements with significant overheads have been particularly vulnerable during the pandemic, with commission income falling through floor upon floor from the outset. Askonas Holt duly rented out its offices and made for Somerset House, taking a suite of three rooms overlooking Waterloo Bridge. ‘It seemed obvious this was the right place for us,’ says the company’s chief executive Donagh Collins. ‘An attractive central London location dedicated to the arts, close to performing venues such as Southbank Centre. It has such a great vibe.’

The ongoing operational model at Askonas Holt still depends on a significant level of working from home. ‘So we run the Somerset House office on a hot-desking basis,’ Collins explains. ‘Staff members use an app to book space as and when they need it.’

At the other end of the scale, several smaller artist management concerns are taking advantage of Somerset House’s straight hot-desk option. Peter Railton of newly formed PR-Artists is a refugee from the demise of the Hazard Chase company at the start of the Covid crisis. He’s long been used to working from home but, having set up his own business, knew he ‘wanted to spend time away each week so that I could really focus. Somerset House has provided me with the ideal place to do that. The cost is reasonable. No need to worry about electricity, gas, rates and so on. You just pitch up and sit where you can. There’s a kitchen with various facilities at no extra cost. It’s a fantastic environment.’

Artist manager Caroline Phillips also signed up for the hot-desk-only option, for use on London days away from her base in Wiltshire. ‘Pretty damn smart,’ she observes of Somerset House. ‘The space has been very thoughtfully converted for its current use and there’s a really modern buzz. You have to go through a box-ticking exercise when you apply and then an induction process, part of which invites you to support Somerset House’s commitment to diversity and inclusion in specific practical ways.’

Maxine Robertson also uses the hot-desk option when travelling into London from Helensburgh, north-west of Glasgow, where she took cover from Covid after many years of working in London. ‘I’m down as many as four times a month and this option gives me just what I need. Beyond the monthly fee, you pay just an hourly rate to use the space. There are bookable meeting rooms if you want to invite a client in. Booths are available where you can make phone calls and have video-link conversations in privacy.’

Atholl Swainston-Harrison, chief executive of the International Artist Managers’ Association, has smoothed the way for several artist managers by endorsing their applications to rent and generally offering advice. ‘One advantage of using Somerset House is that the lease agreements are clear and simple, with built-in flexibility. As the artist manager presence here develops you can see that business contacts, especially from abroad, will value being able to take in a string of meetings in one place. Having IAMA members on the association’s doorstep and dropping in is an added means by which we can keep our fingers on the pulse of the profession.’

Also now located at Somerset House is the HarrisonParrott office, which arrived in September having departed the Hammersmith HQ which had barely been in use since March 2020. Even before the pandemic, the company had been looking to adopt a more flexible approach to office accommodation, taking advantage of the latest communications technology to embrace growing amounts of working from home. Now, like Askonas Holt, the company has three rooms at Somerset House, including one large open-plan office. ‘A buddy system pairs members of staff who decide between them who will be in the office at which times to occupy their shared desk,’ explains HarrisonParrott chief operating officer, Lorna Aizlewood.

Yes, working from home will remain a feature, but Aizlewood emphasises the importance of the Somerset House ambience to staff members. ‘The venue management works hard to nurture a sense of community that benefits peoples’ wellbeing — the range of events it puts on, for example. And how wonderful it is to have offerings like art exhibitions on site.’

Too soon to say just what collaborations may spark as a result of artist managements being located within such an engaged creative environment — collaborations perhaps including those between artist managers themselves. ‘As Covid subsides I can see more interaction and cross-over taking place,’ reckons Peter Railton. ‘After all, we’re in the middle of a sizeable and varied arts community.’

‘Competition between artist managements is healthy,’ adds Donagh Collins, ‘but we have great respect for each other. Who knows? Great things may well result from chance meetings in corridors.’

Equally, observes Maxine Robertson, it’s good to know that fellow artist managers are on the spot simply for socialising. ‘Over a coffee you can discuss issues in common…hear each other’s tales of woe…offer emotional support. This aspect alone is very important. Covid has made us all more willing to share.’

You can find out more about working from Somerset house here.