What does it take to lead an institution in a way that people don’t just visit—but feel they belong to?
Today, I’m in conversation with the extraordinary Joe Hill—Director and Chief Executive of Yorkshire Sculpture Park, and formerly the force behind Towner Eastbourne’s transformation into one of the UK’s most dynamic cultural spaces. From winning Art Fund Museum of the Year to hosting the Turner Prize, Joe has built a reputation for shaping institutions that don’t just show art, but root it deeply in place, people, and possibility.
What does it take to lead an institution in a way that people don’t just visit—but feel they belong to?
Today, I’m in conversation with the extraordinary Joe Hill—Director and Chief Executive of Yorkshire Sculpture Park, and formerly the force behind Towner Eastbourne’s transformation into one of the UK’s most dynamic cultural spaces. From winning Art Fund Museum of the Year to hosting the Turner Prize, Joe has built a reputation for shaping institutions that don’t just show art, but root it deeply in place, people, and possibility.
But this conversation goes far beyond titles and accolades.
We talk about what it really means to create cultural spaces that people care about—so much so that they protect them, claim them, and see themselves inside them. Joe shares stories of artists whose simplest ideas became the most powerful, why overcomplicating can kill a commission, and how trust—real trust in artists—is still one of the most radical acts an institution can make.
We also get into leadership. The kind that isn’t about control, but about creating the conditions for others to think, take risks, and occasionally fail. Because without that space, nothing new can actually happen.
This is a conversation about stewardship, risk, generosity—and what it means to build an art world that people don’t feel excluded from, but part of.
KEY TAKEAWAYS
- When an institution truly belongs to its place, it stops feeling like a white monolith you “visit” and becomes a living landmark people claim, protect and point to as their own.
- The most powerful work often starts from disarming simplicity and deep trust: a crayon sketch on a façade, an artist given space to think, a curator whose first job is to nurture the project out of the person and to be generous to both artist and audience.
- For the sector to stay alive, we need time and permission to think, to experiment sometimes get it wrong. Without that protected space for risk, we don’t just lose ambitious projects - we lose the possibility of anything genuinely new.
BEST MOMENTS
“If you get an artwork really right, and people feel ownership of it… nobody’s touched it… they protect it.”
“We have to create some breathing room to fail, because then we can innovate, we can test things, and not everything’s at stake.”
“The deeper invitation here - stop overcomplicating what needs to be clear.”
EPISODE RESOURCES
https://www.instagram.com/joe_hill_joe/
https://ysp.org.uk
HOST BIO
With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals.
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This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/
