For some time, I followed with interest on Twitter the development of New Town Utopia, a new documentary about the new town of Basildon in Essex.
Although I’ve visited Harlow, another Essex new town, I’m not familiar with Basildon. I found the documentary, which I watched this week, to provide a remarkably even-handed portrayal of the town. Rather than merely dwelling on or aestheticising the town’s architecture, or condemning its social failures, it matched the aspirations for the town’s development up to the experiences of those who had moved there from the East End of London, and those who were born and grew up there.
The words of Lewis Silkin, the then Minister of Town and Country Planning, run through the film, setting out the context from which new towns such as Basildon emerged in the post-war period. Silkin explains that they aimed not just to alleviate the ‘grossly congested and overcrowded’ living conditions of the inner-city, but to ‘produce a new type of citizen, a healthy, self-respecting, dignified type of person, with a healthy sense of beauty, culture and civic pride’. By being well-designed and filled with artworks and cultural centres, he hoped that new towns would play their part in fostering an ‘appreciation of beauty’. The film questioned the extent to which new towns such as Basildon lived up to this. Whilst their new residents were delighted with new homes with conveniences such as indoor bathrooms, the improvement in living conditions did not always correspond to the changes in citizens which politicians and planners such as Silkin envisaged; Basildon, like the areas of East London from which many of its residents came, retained a reputation for toughness, and its interviewees categorised the town’s pubs according to the violence of the welcome one was likely to receive.
Whilst the shopping areas and public spaces of Basildon, like other post-war new towns, were populated with artworks such as large-scale sculptures and mosaics, what was most striking in New Town Utopia was the culture that emerged outside of the mainstream culture of the town, and these municipal gestures (or perhaps as an escape from it) – from the electronic bands of the 1980s (most famously Depeche Mode and Alison Moyet) to later generations of rock and indie promoters, to poets, painters, pupeteers and street artists.
To find out more about New Town Utopia visit www.newtownutopia.com.
This fascinating blog post by Inexpensive Progress, a Cambridgeshire-based writer and collector, sheds some light on the fate of some of the work from the Cambridgeshire Collection of Original Artworks for Children, as well as giving details about the scheme’s history in Cambridge and some of the artists involved.
Henry Moore Institute in Leeds is holding three talks this month which look like they’ll be of great interest to fans of twentieth century art and design. The first, on Wednesday 13 June at 6pm, is by Lynda Nead, author of the recent, excellent book Tiger in the Smoke. The second, on Wednesday 20 June, is by Margaret Garlake, author of the essential book New Art, New World, and concerns emigre artists and their work for patrons such as the London County Council as part of the post-war reconstruction effort in Britain. Finally, on Wednesday 27 September, Gordon Johnston will discuss the work of the sculptor Peter Peri, whose work was exhibited at Pictures for Schools as well as in numerous public contexts.
Something I’ve really not done enough of during my PhD has been speaking about my research – which is a shame as it’s been one of the aspects of my work I’ve found the most rewarding. For this reason, I was really pleased to be invited to speak at a symposium at the University of Derby exploring the surrealist painter Marion Adnams, as part of the university’s International Women’s Day celebrations.
The symposium brought together academics and practitioners in order to explore both Adnams’ life and work in detail, and the artistic milieu of which she was a part, as well as issues around collecting and exhibiting women’s work more broadly.
My paper was more loosely connected with Adnams than some of the other presentations. As Adnams sold work to school loan collections in Manchester, Derbyshire and Leicestershire, I used Pictures for Schools and the work of Nan Youngman as a way to introduce some of the ideas and motivations behind the development of post-war educational art collections. My presentation attracted a lot of interest. Partly this was due to the local connection, and concerns about current-day threats to these types of resources; I was even interrupted by a local keen to point out that the Derbyshire School Museum Service was under threat of closure! It also prompted some discussion about the extent to which my discussion of progressive post-war education tallied with the experiences of those in the room who had been at school in the post-war period. Whilst one man said he didn’t benefit from the supposed educational reforms which took place in post-war schools, a woman who had been at school in rural Leicestershire said she looked back on her schooldays now and was ‘amazed’ at what she did in school, saying it had a ‘profound effect’ on her, and that her teachers believed passionately in the arts and educational reforms at that time. Another man, who had been at school in Hertfordshire in the 1960s, told me that art had been a huge part of his education. I also got some good questions, asking why I think my research is pertinent now, and how I feel education today contrasts with post-war attitudes to creativity.
For me the highlight of the day was a presentation by Jane Stanton, Head of Design at the University of Derby, which showed the value of personal experiences, storytelling and biographical approaches to historical and artistic research. Stanton knew Adnams, who was a friend of her family, as a young woman growing up in Derby. Her presentation was centred on a journey, as a learner driver, with her father to the south of France to collect Adnams from her second home there in the early 1970s. It was illustrated with photographs of Stanton – at that time just eighteen, and about to embark on a foundation degree and career in art – hand-in-hand with an elderly and almost-blind Adnams. It told the story not just of Adnams’ impact on Stanton, the significance of which is becoming apparent decades later, but of intergenerational exchange and friendship, and the ways in which we frame and reflect on our work and experiences at different stages of our lives. Stanton’s presentation prompted some interesting questions about provinciality – Adnams spent her entire life living and working in Derby, and the day’s presentations gave both a sense of her connectivity within the East Midlands, as part of the Midland Group in Nottingham and the Derby cultural scene, and her sense of distance from London, and desire to escape the constraints imposed at different stages of her life, from the war, to the necessity of earning a living through teaching, to caring responsibilities. As someone who was sometimes characterised as a ‘difficult’ character, the presentations also raised the issue of personality – as one person asked, was every woman of that generation defined by her relationships with others?
I also particularly enjoyed hearing from Colette Griffin, Assistant Curator at Nottingham Castle Museum and Art Gallery, about the challenges of curating a woman-only show from a collection containing only a small percentage of artworks by women, and the factors which influence the ongoing acquisition of more work by female artists.
The symposium was a starting point for further explorations into Adnams and other artists by the newly established Women Artists in History Research Group at the University of Derby; I’m really looking forward to seeing how it develops.