I recently fulfilled a long-held ambition to visit Cartwright Hall in Bradford, and learn more about its impressive print collection, which was partially developed through a series of International Print Biennales held at the gallery between 1968 and 1990.
A small selection is on changing display in a dedicated print room, with more works available to browse on a screen. Many of the artists who were popular and active in Pictures for Schools are represented in the collection, including Julian Trevelyan and Peter Green. I was particularly taken by two lithographs by Michael Rothenstein. They were far more modern and abstract in appearance than the work he sold at Pictures for Schools, which often focused on motifs such as cockerels. The collection is still actively acquiring prints. Although I am often underwhelmed by her work, I loved a set of recent photogravure etchings by Cornelia Parker, inspired by the Fox Talbot glass collection.Cartwright Hall has recently developed a gallery dedicated entirely to the work of Bradford’s famous son David Hockney, showing off the gallery’s Hockney works and contextualising them within his upbringing and education in Bradford. I was interested in particular in his work for the city of Bradford. ‘A Bounce for Bradford’ (1987) was printed on newsprint and distributed in the local newspaper, the Telegraph and Argus, in order that everyone in Bradford had the chance to own a Hockney. He also designed covers for a local travel guide, and the phonebook.
Guest lecture, Bradford School of Art, Wednesday 31 October – Woman’s Outlook: A Surprisingly Modern Magazine?Posted: October 15, 2018
I’ll be talking about my research into the twentieth-century co-operative women’s magazine Woman’s Outlook, published by the Co-operative Press from Manchester between 1919 and 1967, which combined political campaigning and information with domestic tips and knowledge.
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.
Guest lecture, Bradford School of Art, 15 November: ‘The Campus as Art Gallery: The Past, Present and Future of Educational Art Collections’Posted: November 1, 2017
I will be doing a guest lecture at Bradford School of Art at 12 noon on Wednesday 15 November, drawing on an emerging interest in further/higher educational art collections, which has arisen from my PhD research into Pictures for Schools and post-war art education. The lecture, which takes place as part of the ‘Random Lecture series’, is free and all are welcome.
The Campus as Art Gallery: The Past, Present and Future of Educational Art Collections
Like many institutions, universities and colleges often publicly display portraits of grandees such as chancellors and vice-chancellors in order to convey a sense of tradition, heritage and prestige. Less common but more interesting are those further and higher education establishments which have sought to display works of modern art around campus, turning the educational environment into a gallery space. Universities that have chosen to collect and display contemporary art range from modern, post-war universities, where brutalist 1960s architecture is offset by landscaped grounds filled with sculpture by artists such as Henry Moore, to redbrick Victorian universities, to former technical colleges which attained university status in the 1960s. Here (primarily) paintings were purchased for display in communal areas such as corridors and lecture rooms, as well as more privately in staff offices. Between the 1940s and the 1960s, many teacher training colleges also became enthusiastic buyers of contemporary art as part of a broader culture of artistic patronage among educational establishments such as schools, and art became a part of the training context for a future generation of educators.
Some educational establishments continue to take pride in these collections, make a point of promoting public awareness and access, and continue to actively acquire work. In other cases artworks have been lost, faded into the background or become hidden in the everyday fabric of the institution as universities and colleges have merged, been expanded, modernised and redeveloped over time. This has been due to insufficient documentation and knowledge about the optimum conditions for the display of artworks, a lack of dedicated resource and staff time, or a lack of planning around care and maintenance for the future.
This lecture will explore the historical establishment and development of some of these educational art collections in colleges and universities in the twentieth century. It will explore their perceived educational impact and appeal, the types of artworks that were considered to be of value and use for display in educational settings, and what this says about changing ideas about the nature and purpose of education. It will ask what an educational art collection might look like now and what it might add to the educational experience of today’s students.