Guest lecture, Bradford School of Art, Wednesday 31 January – Bradford’s brutalist masterpieces: William Mitchell’s murals in Bradford, Bingley and IlkleyPosted: January 17, 2018
Bradford’s brutalist masterpieces: William Mitchell’s murals in Bradford, Bingley and Ilkley
Born in 1925, the artist and industrial designer William Mitchell’s work can be seen in towns and cities around the world. However, it does not hang on the wall of art galleries, but is an integral part of the buildings in which it is found. These range from everyday places such as schools, libraries, pubs, subway underpasses and the foyers of post-war towerblocks, to flagship buildings like Harrods and the Metropolitan Cathedral of Christ the King in Liverpool.
The talk will give an overview of Mitchell’s work and career, focusing in particular on three artworks by William Mitchell in the Bradford area which demonstrate his post-war work in municipal and civic contexts as well as for corporate and commercial clients. Using innovative techniques and working in media such as moulded concrete and fibreglass, all three murals are distinctively of Mitchell’s style, yet take different stylistic approaches, from abstracted pattern-making to incorporating elements of the history of the area in which they are located.
It will explore a series of concrete murals in Bradford’s Kirkgate market, built in 1973 to replace a previous Victorian market, by Mitchell or an assistant; thirteen fibreglass panels, commissioned for the former Bradford and Bingley Building Society headquarters in Bingley in the early 1970s and depicting the architectural and engineering landmarks of the area; and a large mural for the Ilkley Wool Secretariat, completed in 1968, which explores the history of wool manufacture locally.
These case studies will be used to highlight wider changes in attitudes towards post-war architecture, and the ways in which these types of artworks are regarded: whilst a new home has been sought in recent years for the Bingley murals, which were removed as the highly unpopular building in which they were situated was demolished, Mitchell’s Ilkley relief has been widely feted and was celebrated with Grade II listing by Historic England in 2015.
‘The Lost Art of Churches’, an excellent short documentary on Radio 4 Extra, which explores the challenges of maintaining and restoring twentieth century commissions by artists in churches (and also visits the Methodist Art Collection), is well worth a listen: www.bbc.co.uk/programmes/b01hl41c
I’m looking forward to attending a discussion about creating art and gallery experiences for children, which takes place at the Bluecoat in Liverpool next Thursday (18 January, 6pm, free). It’s the second in a series of panel discussions entitled ‘What We Talk About When We Talk About Work’, bringing together UK and international artists, curators and other practitioners.
For more information and to book visit www.thebluecoat.org.uk/events/view/events/3798.
I recently submitted my PhD thesis, nearly five years after I started my studies. To say it was a challenge to reach this point – and that, frankly, it was a point I often thought I would never reach – is an understatement. Whilst I’ve loved my research, and spending a considerable amount of time immersed in my subject, it’s made me realise how unprepared I was in many ways to start a PhD. This is something I’ve thought about a lot and, as the 31 January deadline approaches for applications from prospective PhD candidates, I’ve written a list of reflections on my experiences for anyone who is currently considering applying for a PhD.
- Choose your university carefully
Think very carefully about the university and department you are applying for. Is it an environment where you feel comfortable, both academically and socially? Is it somewhere you can imagine spending a considerable amount of time over the next few years? Is there a strong research culture, and postgraduate support network, and are there students working in similar areas to you? Don’t get into the situation I did; I lived in a different city, and spent the train journey to each supervisory meeting trying to ward off feelings of having a panic attack, as everything about visiting the university, department and city in question filled me with such dread.
- Be aware of the financial commitment
Make sure you are fully aware of the financial commitment a PhD involves, and think very carefully about accepting a studentship that is only partially funded, or funded below the levels granted by research councils. My studentship was just £4,000 a year, meaning I felt obliged to continue working alongside my studies (outside of academia, in an unrelated field). Ultimately, spending three years working for an amount that represented less than minimum wage didn’t just present a financial challenge but a psychological one, as it made me doubt the value of my work.
- Be clear about why you are doing a PhD
A PhD is not something to be entered into lightly. Like any other kind of study, never embark on one just because you don’t know what else to do, or want to defer looking for a job.
- Make sure you are prepared academically
Having a Masters degree isn’t necessarily a requirement for being accepted for a PhD. I didn’t have one and spent the first year catching up – getting my brain back into the mode of reading academic articles, and producing academic writing.
- Don’t expect to finish in three years
Make sure you plan for the possibility of failing to complete your PhD in three years (mine took nearly five years, for various reasons). Although this varies from university to university, you could get hit by fees ranging from hundreds to thousands of pounds per term.
- Understand the conditions of your studentship offer
Make sure any promises of financial support are set out in writing at the start. When I accepted my studentship I was told I would have a £1,000 annual allowance to travel to conferences, undertake fieldwork and pay for training. Once I started my PhD I was informed it was in fact £500 per year, and that only £250 of this was guaranteed – the other £250 came from elsewhere in the university and was discretionary. Although this might sound like a lot, all of these activities are expensive, particularly when conference fees and accommodation are factored in.
- Ask about extra-curricular opportunities
Make sure there is encouragement and support for the other academic activities that go alongside your research – will you have opportunities for teaching, to present at conferences and to submit to journals? All of these are essential for finding a job afterwards.
- Understand your limitations
Be realistic about your expectations of yourself. I put a lot of pressure on myself to finish in three years, at the same time as working and undergoing several major life changes. The result was that I burned out and had to take a year out to get my life back on track – supported by my university. It made me realise that I needed to go at my own pace, both for the sake of my research and the sake of my health.
- Most people won’t understand what you are doing
Most people outside of academia don’t understand what a PhD is or what it entails. Get used to deflecting questions about how your ‘course’ is going and when you will be finishing (I used to confuse people by answering ‘how long is a piece of string?’).
- Love your subject
You are in a PhD for the long haul. Believe in what you are doing, and that you will get there eventually if it is worth doing. At the same time, don’t be offended when you find that very few other people are really interested in your research – family and friends are usually more concerned about what you’ll do afterwards, if they ask anything at all!
Sam Thorne – School: A Recent History of Self-Organized Art Education (Sternberg Press 2017)
Sam Thorne’s School is not just, as its subtitle suggests, a ‘recent history of self-organized art education’, surveying the ‘sudden density’ of alternative of art schools that have emerged since the early 2000s. It’s also a timely contribution to an ongoing debate about the nature and purpose of higher education, who should bear the costs – and the expected and desired outcomes for those who participate.
Implicit is the conundrum of the role an art school might usefully be expected to fulfil, given that somebody cannot be taught to ‘be’ an artist. Josef Beuys’ famous saying ‘everyone is an artist’ recurs again and again in the book. If everyone is an artist, then, the purpose of art schools is not to create artists, but to provide an environment in which artists might develop and realise their…
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