Curators, crude oil and an outdated cultural mix

Tonight, the Tate Britain is holding a summer party in which it is also celebrating 20 years of BP sponsorship ( Galleries and museums face summer of protest over BP arts sponsorship , 25 June). As crude oil continues to devastate coastlines and communities in the Gulf of Mexico, BP executives will be enjoying a cocktail reception with curators and artists at Tate Britain. These relationships enable big oil companies to mask the environmentally destructive nature of their activities with the social legitimacy that is associated with such high-profile cultural associations. We represent a cross-section of people from the arts community that believe that the BP logo represents a stain on Tate's international reputation. Many artists are angry that Tate and other national cultural institutions continue to sidestep the issue of oil sponsorship. Little more than a decade ago, tobacco companies were seen as respectable partners for public institutions to gain support from – that is no longer the case. It is our hope that oil and gas will soon be seen in the same light. The public is rapidly coming to recognise that the sponsorship programmes of BP and Shell are means by which attention can be distracted from their impacts on human rights, the environment and the global climate. Hans Haacke, artist John Keane, artist Caryl Churchill, playwright Matthew Herbert, electronic artist and composer Suzi Gablik, art critic and writer Gordon Roddick, art philanthopist Rebecca Solnit, writer and art critic Lucy R. Lippard, writer and curator Davey Anderson, playwright Adam Chodzko, artist Beverly Naidus, artist and professor Suzanne Lacy, artist Chris Jordan, artist Cat Phillipps, artist Martin Rowson, cartoonist Robert Newman, comedian and writer Sonia Boyce, artist Barbara Steveni, artist and initiator of Artist Placement Group Peter Fend, artist SaiMuRai (Simon Murray), writer, poet, artist Ackroyd & Harvey, artists Aidan Jolly, musician, community artist Jon Sack, artist Matthew Lee Knowles, composer Theodore Price, artist Scott Massey, artist Ben Mellor, writer, performer, educator Gary Anderson, The Institute for the Art and Practice of Dissent at Home, artist collective David Haley FRSA, ecological artist and Senior Research Fellow Alana Jelinek, artist and curator Rachel Anderson, creative producer John Volynchook, photographer Jackie Brookner, artist Maya Ramsay, artist/art educator Neil Callaghan, artist Jonathan Baxter, artist and arts organiser Mark McGowan, artist Catrin Evans, artistic director and theatre practitioner James Stenhouse, artist Charlie Fox, artist and producer Roxanne Permar, artist Jane Lawson, artist John Jordan, artist and writer Hemant Anant Jain, illustrator The Space Hijackers, art interventionists Clare Patey artist/curator Matthias von Hartz, Director Hamburg International Festival Lois Keidan, Live art Development Agency Lucy Neal, artist and producer Lise Autogena, artist Marcelo Expósito, artist and critic Steve Duncombe, cultural theorist/writer Cameron Davis, artist and professor of art at Vermont University Kim Stringfellow, artist/associate professor, SDSU Ros Martin, poet and playwright Amy Balkin, artist John Hartley, artist Amber Hickey, artist Christian Nold, artist Isabeau Doucet, painter Jean Grant, creative director Hayley Newman, artist Christian de Sousa, artist and photographer Immo Klink, artist Susan Kelly, artist and art lecturer Aviv Kruglanski, artist Steve Stuffit, artist Helen Spackman, artistic director and senior lecturer in performing arts Lorena Rivero de Beer, artist Janey Hunt, artist Gregory Sholette, artist and writer Mem Morrison, artistic director Lars Kwakkenbos, artist and writer Tom Besley, producer Jane Trowell, Platform, arts/activist organisation Fran Crowe, artist Sharon Salazar, filmmaker/director Leah Gordon, photographer, filmmaker and curator Alke Schmidt, artist Monika Vykoukal, curator CJ Mitchell, deputy director of Live Art Development Agency Julian Maynard Smith, director of Station House Opera Sue Palmer, artist Brett Bloom, artist Kerry Burton, artist Isa Fremeaux, The Laboratory of Insurrectionary Imagination, art/activist collective Anna Francis, artist Ana Betancour, artist and architect Simone Paterson, new media artist and academic Ian Teh, photographer Alejandro Meitin, artist Simone Kenyon, artist and producer Milena Placentile, curator Nick Turner, artist and designer Fabio Sassi, artist Ruth Ewan, artist Raoul Martinez, artist Robert McAdam, painter Katy Fattuhi, arts marketer John Holt, artist and writer Katy Hallett, director, Art Programme Judy Price, artist Stephanie Thieullent, photographer, artist Felix Gonzales, filmmaker, artist Rafael Santos, artist Adrian Arbib, photographer Ian Hunter, Director, Littoral Ele Carpenter, curator Helene Aylon, activist artist Pamela Graham, artist Louise Jones, director, Lemon Street Gallery Ciel Bergman, artist/environmental activist Glauco Bermudez, Cinematographer Marianne Soisalo, artist Mariana Bassani, photographer Michele Petillo, artist Siobhan Mckeown, artist ZEV, tex/sound artist Mira Schor, artist and writer Judith Knight, Director, Artsadmin Gill Lloyd, Director, Artsadmin Danielle Frank, artist Stuart Bracewell, artist. Beverley Dale, Digital Artist Vahida Ramujkic, Artist Mark Vallen, painter, printmaker, writer Toni Martinez-Solera, artist Lucy Fairley, artist Noel Douglas artist, designer, activist Gareth Evans, writer and curator Stevphen Shukaitis, arts /media/cultural publisher Kuljit Chuhan, Creative producer and digital media artist Calum F. Kerr, artist Lisa Wesley, artist Jody Boehnert, designer, artist and writer Heide Fasnacht, visual artist Michelle Jaffé, artist Jan Brooks, artist Peter Harrison, propeller arts collective Deanne Belinoff, artist Michelle Waters, artist Fern Shaffer, artist Harmony Hammond, artist and art writer Simon Whetham, sound artist Mimi Poskitt, director Michaela Crimmin, curator and critic Wallace Heim, writer and academic Ciel Bergman, painter Ali Sparror – artist Lucy Reeves - Film designer The Vacuum Cleaner, art/activist, Robby Herbst, artist Anja Steidinger, visual artist Claire Hildreth, photographer Loraine Leeson, artist Kayle Brandon, artist Peter Offord, artist Julie Green, painter Murray Wason, artist Christina Moore, production designer Emma Byron, artist and performer Miche Fabre Lewin, artist-cuisiuniere Kate Rich, artist Madeleine Hodge, artist and curator Kirstin Forkert, artist Martin Nakell, poet, fictionalist Liam Hurley, writer, theatre director, story teller Mike Perry, artist Phil Maxwell adn Hazuan Hashim, artists Greg Pact, artist • The letter above was amended on 29 June. One of the intended signatories, Suzanne Lacy, had been included twice in the list of signatories supplied to us, and another, Maya Ramsay, had been omitted from the list. This has been corrected. • Recent catastrophic events in the Gulf of Mexico have brought to a head a situation that for many years has been uncomfortable, but tolerated. Now we find it necessary to stand up and deplore the Tate galleries' sponsorship by BP. The Chartered Institution of Water and Environmental Management's Arts and Environment Network (AEN) was formed in 2007 to put creativity at the heart of environmental policy and practice. Its members represent cultural institutions, universities and agencies entrusted to care for the environment. As the world and indeed Tate have learned to flourish without support from slavery, tobacco and alcohol, we and they must learn to emerge from the culture of fossil fuels and the insidious oil industry. BP, Shell and all other petrochemical corporations must be denied control of our arts and cultural institutions, right now. As Tate is about to celebrate 10 years of funding from BP, we call on the trustees and director of Tate to put a halt to the tyranny of oil patronage and cleanse the oil stains from art. We also call on Jeremy Hunt, secretary of state for culture, media and sport, to use his powers as the responsible minister to ensure this happens. Dave Pritchard, David Haley, Nick Reeves, Emily Doyle Chartered Institution of Water and Environmental Management • It is understandable that, as you report, many artists and green groups are protesting against arts institutions receiving sponsorship from BP – but it is important to describe what such corporate charitable donations are – and what they are not. They are not in any way ever a meaningful contributor in a company's overall obligations to its stakeholders. The amounts are collectively too small and the selection of recipients is far too random for the largesse to be anything than incidental in the context of a big company's finances. While some companies might seek to suggest that donations to good causes are part of their commitment to "corporate social responsibility" the public is unlikely to be fooled – you cannot buy yourself a good reputation or build brand approval by making such gifts. In reality one of the main reasons that big companies donate to arts institutions is to buy their directors privileged access to events, such as to premium seats at the opera house. For the arts institution it is a harmless and valuable source of funds to pander to the vanities of a few corporate fat cats. No wonder they are rallying round BP at the moment. Paddy Briggs Teddington, Middlesex • The concept of magnificence is as old as the fact of wealth and exploitation, and public arts without money from the swollen coffers of scurrilous industrialists would be a thin stranded thing. When individuals and institutions strive to launder their reputations with their grand donations it would be churlish to carp at the sight of a little sweat or blood or a few oil-soaked feathers, especially with our government preparing to withdraw so much of their seed from the local tiller men. How did we imagine such crude and dispensable profits were derived in the first place? BP will thrive without the arts, but art gets smashed when the barbarians are banished from the citadel. Julian Firth London • What's the difference between the reckless and irresponsible banking culture and reckless and irresponsible exploration by giant oil companies? If the government wants to regulate banks by splitting them up when they become to big or too profligate, why not apply the same principle to oil giants, media behemoths and defence goliaths which ride roughshod over the interests of the environment, societies and human rights? The real point is that western business management (and regulation) is not and never was all it was cracked up to be. A clever myth has been well watered by mainly MBAs as they spew out from business colleges, voraciously looking for companies to infect with their asset stripping takeover obsession. It's time to rethink the entire way we do business and manage firms for stakeholders instead of shareholders. Bruce Whitehead Edinburgh