I was delighted to stumble across an exhibition of sculptures by Elisabeth Frink during a daytrip to Nottingham at the weekend, at the university’s Lakeside gallery. Frink was one of the best-known British artists to be involved in the Pictures for Schools exhibitions, and served on selection committees to select sculptures for the exhibitions for a number of years. She also submitted sculptures to Pictures for Schools, and sold works on paper through the scheme, including drawings from her Spinning Man series.
Entitled ‘The Presence of Sculpture’, the Nottingham show focused largely on Frink’s post-war commissions and drew attention to themes and subject matter, from heads (many displaying a smooth serenity), horses and birds to movement, change, uncertainty and the lightness and heaviness of flight. Works and studies on display included large-scale sculptures for corporate companies such as WH Smith, and work in the Battersea outdoor sculpture exhibition, as well as religious and public commissions, including her angular, roughly textured eagle lectern for Coventry cathedral and her controversial tribute at Manchester airport to Alcock and Brown’s non-stop Atlantic flight, which somehow manages to retain a sense of grace despite the flailing, tapering descent of the legs and the contrast between the smoothness of the man-made wings and the awkwardness of the human body. Much was made of the ways in which her artworks were encountered in people’s everyday lives.
However, my favourite works were those depicting boars, including a spindly-tailed bronze in which the bulk of the animal has been arrested in movement, seemingly coming to a sudden stop. I also loved the washed-out colour and hairy detail of the 1967 lithograph ‘Wild Boar’.
‘The Presence of Sculpture’ finishes on Sunday February 28.
In November, I did a tour for a group of human geography undergraduates from the University of Central Lancashire, which I have now turned into a publication. The tour aimed to offer a brief introduction to the historical context and development of public art, and some of the debates, concerns and issues surrounding it, asking questions such as ‘What is public art?’ and ‘What form does it take?’.
The tour took as its starting point the post-war era, widely regarded a time artworks began to step down from the gallery plinth to be installed in public places and buildings, though many of them used the same form and materials, and relied on the same assumed distance between artwork and viewer, and framework of interpretation, as artworks which might be seen in a traditional institutional setting. It concluded in the present-day. The resulting guide moves from a presentation of object-based artworks to highlighting artworks which are ephemeral, activity and performance-based, and may leave the viewer with little or nothing to look at on a permanent basis, but nonetheless contain the potential to transform the way their participants think about and experience the city, and interact with certain spaces and situations. On its way, the guide takes in artworks with aim to engage with communities and local people, as well as artworks linked with specific places and pieces linked with wider agendas of tourism and regeneration.
The publication also acts as an introduction to an area of Salford which has undergone several phases of development, decline and renewal and is currently undergoing transformation and attempted gentrification at an accelerated pace. It starts at the University of Salford, progressing down the Crescent and Chapel Street. The guide draws on a number of sources, including original interviews undertaken with artists, curators and others involved in public art in the area and published elsewhere, including on the Shrieking Violet blog.
Access the publication at http://issuu.com/natalieroseviolet/docs/salfordcentralpublicarttour.