‘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 recently went to the launch of a new exhibition at the National Football Museum in Manchester showcasing the museum’s art collection, which has been developed with funding from the National Lottery Heritage Fund.
Peri was one of several artists who exhibited at Pictures for Schools whose work has been acquired by the museum; football, particularly local and amateur matches, was one of the aspects of everyday life captured in the pictures shown at Pictures for Schools and bought by local education authorities for school loan collections (see Carel Weight’s lively ‘Village Cup Tie’, purchased by the London County Council, and apparently later sold to the football museum, although not on display in this exhibition and Fred Uhlman’s atmospheric painting of a game on a winter evening, recently sold at auction as part of the disposal of Hertfordshire County Council’s art collection). Like many of the artists at Pictures for Schools, as a member of the Artists’ International Association he was interested in depicting and reflecting relatable aspects of people’s lives, and presenting his art in places that was familiar and accessible to them.
The exhibition encompassed a wide variety of styles and genres, from Lowry’s iconic images of northern life, to delicate illustration by Paul Nash, to contemporary British artists such as Rose Wylie and digital artworks, to fashion and textiles, to vintage posters and advertising, to portraits of footballers and artworks by famous footballers such as George Best, and even a sculpture by Piccasso.
Far from the glitz of today’s game, with its superstar footballers on multi-million pound salaries, many of the works I liked best depicted the quieter, more personal aspect of the game and its individual and collective meanings to people as part of their sense of identity, leisure, routine, community and belonging: crowds huddled loyally in the cold of a snowy day, as in Alistair Grant’s lithograph ‘Snow at Stamford Bridge’, or behind the scenes of the game as in the Mass-Observation documentary photographer Humphrey Spender’s 1930s images of changing rooms, which suggested some of the tension and anticipation of the game.
Mid-twentieth century British art was particularly well-represented in the exhibition. I was interested to find out that several of the works had been exhibited in the Football and the Fine Arts exhibition, held in 1953, and organised by the Arts Council of Great Britain and the Football Association in order to mark the latter’s 90th anniversary. One of the highlights was the Great Bardfield artist Michael Rothenstein’s prize-winning etching and aquatint ‘Moment of Victory’, an abstract set of shapes which appeared to represent little in a literal sense, but suggested movement and celebration. Another highlight was the robotic stacked shapes of surrealist painter Ithell Colquhoun’s colourful oil painting ‘The Game of the Year’, dating from the same year as the Football and the Fine Arts exhibition.
Football Is Art is at the National Football Museum until Sunday 27 October: www.nationalfootballmuseum.com/whatson/football-is-art/
One of the artists involved in Pictures for Schools who interested me most was the painter and printmaker Julian Trevelyan, whose paintings and prints were extremely popular with schools, teacher training colleges and local education authorities around the country. Trevelyan also helped organise and select work for the exhibitions.
The Christmas holidays recently provided an opportunity to visit an exhibition dedicated to Trevelyan’s work at Pallant House Gallery in Chichester. Julian Trevelyan: The Artist and His World gives an overview of his career. It begins with his early days as a Surrealist, exhibiting 2- and 3-D work inspired by the mechanisms of the inner mind and the subconscious, and making connections with peers such as Alexander Calder.
In the 1930s, Trevelyan spent time in Bolton and in the Potteries as part of the Mass-Observation project. Highlights of the exhibition include paintings and collages from this time, which actively incorporate elements of mass culture into the urban streetscape; Trevelyan didn’t just paint the lettering of advertising hoardings, but collaged pieces of newspaper and music hall bills. Displayed alongside the pictures is a large suitcase, bursting with scraps, which Trevelyan took out into the northern streets with him as he drew and painted. A series of photographs of fellow Mass-Observation artist William Coldstream contrast the two painters’ attitudes towards observing and understanding place; whereas Coldstream perched on rooftops, taking an aerial perspective and keeping his distance from the town below, Trevelyan preferred to go out and about among his subjects and paint from a position in which he was surrounded by them.The exhibition then discusses his contributions to the war effort, where he served as a camoufleur, helping disguise buildings to confuse the enemy. Watercolours from this time, depicting life in African countries, are uncharacteristically lively and colourful compared to other pictures produced by British artists during the war.
The exhibition gives a sense of the different media in which Trevelyan worked, from oil paintings influenced by the Post-Impressionist Pierre Bonnard, to print-making experimenting with different techniques and textures, such as incorporating fabric into the backgrounds of his plates.
Above all, what comes across strongly is Trevelyan’s sense of place. With his second wife, the painter Mary Fedden (who was also involved in Pictures for Schools), he showed a zest for travel and foreign landscapes and ways of life. However, he never turned his attention away from those places closest to home; a constant in his work, and visible in the exhibition, is the Thames at Hammersmith, and its ever-constant, ever-changing vistas and traffic, which provided the backdrop for Trevelyan and Fedden’s work, life and social circle.
Shown close to Trevelyan’s work is a smaller selection of paintings by Fedden, including her characteristic still lifes which experimented with perspective. Also on show are early 1950s plans for Fedden and Trevelyan’s mural for Swallow Dell Primary School in Welwyn Garden City, Hertfordshire, one of several undertaken together in the post-war period. Depicting in detail the various activities of a bustling harbour life, this emphasises that their relationship was not just a romantic partnership, but one of artistic collaboration and mutual inspiration.
Julian Trevelyan: The Artist and His World is at Pallant House Gallery, Chichester, until Sunday 10 February 2019.
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.
In 1944, a young man named Gordon Hodkinson embarked on his architectural training at the Manchester School of Architecture (MSA). Although his training was, like many of his generation, interrupted by military service, Hodkinson graduated in 1951 and spent his working life as an architect. Now, more than seventy years later, Hodkinson’s student work has been deposited with the Special Collections at Manchester Metropolitan University, and a small selection has gone on display in the Special Collections gallery space.
This is thanks to the enthusiasm of Richard Brook, Reader in Architecture, who recently finished his PhD on Cruickshank and Seward, the Manchester-based architectural partnership for whom Hodkinson went to work, and who has himself taught for many years at the MSA.
At the time of Hodkinson’s training, the MSA was regarded as offering a more modern architectural education than some of the other schools, looking towards the Bauhaus for inspiration. As a student who would graduate to work on building post-war Britain, Hodkinson’s student drawings offer an insight not just into the architectural training of the time, but into the types of buildings that architects might work on – or aspire to work on – once they had graduated. Early work includes day sketches for small-scale projects such as an architect’s retreat, an author’s workroom and a fisherman’s rest pavilion. Other projects include the intriguing and generously proportioned (especially by today’s standards!) single-person bungalows and student study bedrooms, a swimming pool stepped into the landscape, a hostel, a café, a reform school for boys and, more ambitiously, a modern art museum.
These are displayed alongside the project briefs, which highlight the considerations students needed to bear in mind, from materials to contractors. Students were also encouraged to consider the types of clients and contexts that were likely to provide commissions: they were asked to design for the City of Manchester plan, which saw post-war redevelopment as an opportunity for the comprehensive redesign of large areas of the city, and the Expanded Towns project which provided infill housing in the interwar years.
Hodkinson’s student work is also contextualised by the conclusion of a number of books and journals from the time – available to students in Hodkinson’s day, and still available in the MSA library today – which highlight many of the new developments in modern architecture and building techniques taking place at the time, both in the UK and internationally, and showcase pioneer projects such as schools, offices and housing.
On leaving university, Hodkinson went on to work on buildings including universities – both in Manchester and further afield – and offices for light industry on the outskirts of the city. These are celebrated through the inclusion of photographs of the finished results; Brook brings our attention in particular to a series of elegant staircases.
Hodkinson’s student drawings are crisp and precise, yet muted in their palette, perhaps due to the constrictions of wartime restrictions in materials, which continued in the immediate post-war period. In spite of this, they’re rich in detail, from vernacular materials, landscaping and the differentiated uses of trees, to cycle parking for swimmers and washing blowing on the line, showing the mark of someone who’s not just designing for abstract futures, but for buildings to be lived in, enjoyed and used.
Drawing the Modern is at Manchester Metropolitan University Special Collections until Friday 5 April 2019.
I recently visited Tullie House to see a small exhibition of work from a collection acquired for the city of Carlisle through the Royal Academician Carel Weight, as part of nationwide events commemorating 250 years of the Royal Academy. Weight was one of the artists who was heavily involved in Pictures for Schools, and sold work through the scheme. As well as showing Weight’s own paintings, the exhibition showed work by members of Weight’s circle, including peers and students, such as Peter Blake, acquired for Tullie House. I reviewed the exhibition for Corridor8: read online here.