‘But what if we tried?’ by Harry Meadley at Touchstones in Rochdale is an illuminating experiment to display as much of town’s 1,500-strong art collection at once as possible (there’s only space to show about 300 pieces within its Edwardian galleries, it turns out).
At a time when public ownership and funding of art, and issues around access and storage, are more contentious than ever, this timely exhibition explores the curatorial and logistical processes behind the scenes of programming a municipal gallery which is resource-poor but rich in artworks and heritage.
Piled high in the largest gallery are a selection of artworks acquired since the gallery first started collecting, displayed in accession order and giving an insight into how the collection has evolved and grown over time, and the types of artists and artworks acquired during different eras.
Some of the collection has clearly been acquired due to local interest and connections, from portraits of local dignitaries and paintings and drawings depicting the town and its surroundings, to artworks by locally based printmakers. Other work has been acquired through bequests, meaning it cannot be sold. Other artworks have come into the collection through changes in local government; for example, when the nearby towns of Middleton and Heywood were incorporated into the borough in the early 1970s, their collections were merged with Rochdale’s.
The collection also reflects developments in modern art and contains works by major artists such as Patrick Caulfield, Gillian Ayres and Lubaina Himid (though, as elsewhere, woman artists are underrepresented in the collection, comprising around 8 per cent), and the gallery is still collecting today. Works by well-known artists are frequently lent to other galleries – enabling them to both be seen by a wider range of people and providing a source of income for the gallery. This is such an important part of the life of such a collection that one wall of the exhibition is filled with carefully packaged artworks ready to be shipped off to other destinations.
Displayed alongside the artworks are a series of thoughtful, behind-the-scenes films showing in detail how a gallery such as Touchstones actually works, taking us into the stores and through staff meetings, curatorial decision-making, PR planning and installation. Staff, including curators, technicians and the council’s Cabinet Member for Neighbourhoods, Community & Culture, are interviewed with a refreshing candour about their work, including the challenges and responsibilities of conservation and care. Rochdale today is a very different place to the cotton-rich manufacturing town it was when the museum and art gallery was established, but the interviews reveal a wealth of knowledge, passion and expertise about the collection and its place in the town.
This exhibition is a must-see for anyone who can make it to Rochdale before it closes on Saturday 1 June. www.contemporaryforwardrochdaleartgallery.org/projects/harry-meadley-but-what-if-we-tried/
I was interested/encouraged to read this week about a seventeenth-century self-portrait by Italian woman painter Artemisia Gentileschi, which has been on display in a girls’ school in Newcastle as part of a tour from the National Gallery also encompassing other venues such as doctors’ surgeries.