Calls for more funding in the arts says new Art Council review
Local prosthetic make up artist, who's rubbed shoulders with the stars reacts.
At the core of the review is a strong defence of the Arts Council of England.
It calls on government to protect the organisation and preserve its independence, ensuring that funding decisions remain free from political interference.
This “arm’s length” principle is seen as vital to keeping arts and culture accessible across the country, rather than concentrated among a small number of institutions or regions.
Smarter funding, not just more funding
Recognising ongoing pressure on public finances, the review focuses on practical improvements rather than unlimited spending.
Proposals include fairer tax relief for touring companies facing rising travel and accommodation costs, faster payment of tax relief to avoid cash-flow problems, and new incentives to encourage private donations - particularly outside London.
One notable suggestion is that when publicly funded productions become highly profitable, a portion of that success should be returned to the Arts Council and reinvested elsewhere.
The review also proposes creating a £250 million endowment fund to provide long-term financial stability, reducing the cycle of short-term funding crises that many arts organisations face.
A fragile pipeline for creative careers
For people working in freelance-led creative industries, underfunding has direct consequences.
Adrian Rigby is a Northern born, prosthetics and make-up designer who backs funding in the Northern sectors of the industry.
Prosthetics and make-up designer Adrian Rigby has spoken about how his own career was made possible by affordable training and the support of a mentor willing to take a chance on him - opportunities that are becoming increasingly rare.
His experience reflects a wider concern raised in the review: while the UK celebrates its creative talent, it often ignores the systems that support it.
Early, low-cost training routes and publicly funded education have historically allowed people from working-class and regional backgrounds to enter the arts.
As these pathways shrink, access to the industry becomes narrower and less diverse.
Tackling regional inequality
The review also highlights the ongoing imbalance in arts funding, with too much investment and opportunity concentrated in London and the Southeast.
It calls for stronger local decision-making, longer funding cycles, and community-led boards to ensure funding reflects regional needs.
From Rigby’s perspective, this imbalance limits both talent and resilience.
Without training and opportunities across the country, many creative workers are forced to relocate or leave the industry altogether.
Arts funding as infrastructure
Perhaps the review’s strongest argument is that arts funding underpins the UK’s wider creative economy.
Film and television may generate significant economic returns, but they depend on a skilled workforce developed over many years.
That pipeline relies heavily on publicly funded education, specialist training, and early-career support.
Cutting investment now, the review warns, risks long-term damage.
The films, television programmes, and cultural achievements the UK celebrates today are built on an often invisible support system. Protecting that system, the review concludes, is essential if the country wants its creative industries to remain world-leading in the future.