Football Is Art at the National Football Museum

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.

One of the works which has been acquired is a maquette for Peter Peri’s ‘Boys Playing Football’ (I went to see the original on the wall of an estate in Lambeth back in 2017).

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/

 

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Isabel Alexander (1910-1996): Artist and Illustrator, Mercer Art Gallery, Harrogate

51mofsqxqjl-_sx258_bo1204203200_The story of Isabel Alexander is by no means an uncommon one. Born into a middle-class, educated family in Birmingham in 1910, as a daughter she was denied her first choice of an education, to train at the Slade. Instead, she attended Birmingham School of Art in the 1920s before finding employment in schools and at Saffron Walden teacher training college in order to pursue her training and practice as an artist. This determination to work and exhibit enabled self-funded studies at the Slade, and a fifty-year career as an artist, pursued at the same time as being a single mother.

After the Slade Alexander went on to work in the burgeoning British documentary film movement of the 1930s and as a commercial illustrator. She designed book tokens vividly illustrating rural life and occupations in East Anglia, Kent and the Cotswolds (1953) and undertook botanical illustrations for the educational Puffin picture book series, such as the close-up study ‘Penicillum’ (1948) from the unpublished follow-up to the Story of Plants, where aspects of nature are observed in a way that exaggerates and exacerbates their qualities and form.

Alexander succeeds at documentary and narrative, as in her 1944 portraits of disabled miners. She also aptly captures place: highlights include ‘Pinnacle, Thaxted Church’, a 1951 linoprint of a church spire in which natural and architectural details are intertwined and ‘Bardfield Landscape III’, a subtly abstract, yellow-hued watercolour of 1950. Both are inspired by the Essex landscape; she settled in the picturesque and historic village of Thaxted, on the border with Suffolk, before relocating to North Yorkshire for the final years of her life.

In the 1960s Alexander exhibited drawings and paintings at the Pictures for Schools exhibitions, selling work to schools including Godolphin and Latymer School in London and Cambridgeshire and Nottinghamshire education committees. She maintained a commitment not just to exhibiting herself, but to keeping up with visits to exhibitions and maintaining an ongoing interest in contemporary and historical art movements.

A new exhibition of Alexander’s work in Harrogate, bringing together work from private collections and accompanied by a book by Janet McKenzie, aims to highlight her legacy and expose the barriers she faced as a woman seeking a career as an artist. It also traces Alexander’s journey from realism to a growing focus on abstraction and experimentation with media and form.

However, the work in the exhibition suggests Alexander’s transition between realism and abstraction was not clear-cut, and a sense of abstraction and experimentation underlies much of her apparently realistic and naturalistic work. For example, the use of an unexpectedly lurid crayon introduces an ominous element into the otherwise murkily coloured landscape of ‘Condemned Houses, Blaencwm’ (1943), as does the skewed perspective of ‘Miners’ Houses, Trealaw’ (1944).

Displayed side by side at the Mercer Art Gallery, the watercolours ‘Moorland Larches, Yorkshire’ (1983) and ‘Winter Trees I’ (1971) hint at abstraction in their use of starkly outlined shape and colour, at the same time as conveying the particulars of landscape and season in a way that is sensory and atmospheric if not quite realistic and naturalistic.

Also not quite natural, but based in observable phenomena such as the flickering shapes and suggestive shadows of twilight and the transition to darkness, is the 1958 study ‘Moonlight’.

Other highlights include her pencil studies of weather phenomena and later, more large-scale and obviously abstract work in which experiences, natural phenomena and sensations elide, as in ‘Weeds and Water’ (1984) and ‘Gannet’ (1985) in which oils on newspaper explore the bird’s movement at the same time as suggesting watery flows.

Whilst much of her work documents places, landscapes and experiences close and familiar to her, Alexander maintained a commitment to travel and observation of new places, from a series inspired by the natural and manmade landscapes of the Isle of Aran to painting trips to France and Spain. Far from following the well-trodden genre of straightforward pastoralism, beneath Alexander’s work lies a tension between nature and artifice, implying a subtle critique of ways of working, living and using the landscape that that are alienating, exploitative or unnatural.

Isabel Alexander: Artist and Illustrator is at the Mercer Art Gallery, Harrogate until 4 June. 

A large number of images of Isabel Alexander’s works have been added to the Bridgeman Art Library and can be explored alongside the exhibition.

 


Holiday reading: Long Live Great Bardfield (Tirzah Garwood’s autobiography)

Artist Tirzah Garwood’s autobiography Long Live Great Bardfield, republished by Persephone Books in 2016 more than 60 years after her death with a new introduction by her daughter Anne Ullmann and illustrated with photographs and engravings, is a weighty and satisfying read. Born in 1908 and brought up in an upper-middle-class family in genteel Eastbourne, it’s a glimpse into a different time, when middle-class women’s main role was to marry well.

Often snobbish in her descriptions of those she meets, and strange and apparently naïve in some of the ways she looked at the world – for example, Garwood was keen to have children in order to stop the monthly inconveniences of menstruation – at other times Garwood writes about sex and relationships with a surprising frankness, even going as far as to liken the birth of her third child to orgasm. She also writes honestly and maturely about her husband, Eric Ravilious’ love affairs. The book is made poignant not just by Ravilious’ loss in a plane over Iceland in 1942, but by Garwood’s documentation of operations for recurrent breast cancer, from which she eventually died at the age of 43, leaving behind three young children.

Though Garwood writes little about her practice as an artist in her own right – she was too busy being a wife, mother and lover – her autobiography places her at the heart of an artistic circle that included the Great Bardfield group of artists in Essex, as well as the friendship group based around Peggy Angus’ country cottage the Furlongs in East Sussex.

Ullman makes a brief reference at the end to her mother’s contributions to Pictures for Schools towards the end of her life; she took up painting and collaging, creating 3D works in boxes inspired by houses in Essex villages. These works were popular at Pictures for Schools, and the 1952 exhibition paid tribute to her with a special display of her work.

To buy Long Live Great Bardfield visit www.persephonebooks.co.uk/long-live-great-bardfield.html.


Tirzah Garwood in the Guardian

In the early years of the Pictures for Schools exhibitions, to which she was a regular contributor alongside other members of the Essex-based Great Bardfield group, Tirzah Garwood’s detailed collages of scenes from village life were popular with child visitors; in 1952 (the year following her untimely death) a section of the exhibition, held at London’s Imperial Institute art gallery that year, was dedicated to her work as a tribute to her contribution to the Pictures for Schools. So I’m really looking forward to this new book, which publishes Garwood’s memoirs: www.theguardian.com/books/2016/oct/18/shelf-life-rachel-cooke-tirzah-garwood-long-live-great-bardfield-eric-ravilious-essex-edward-bawden


A visit to see Manchester Grammar School’s art collection: the final piece of the jigsaw

MGS mezzanineI have long wanted to know what happened to the artworks sold at Pictures for Schools once they had left the exhibitions, and tried to contact schools which purchased work. This always been unfruitful as many schools have closed, merged, changed name or changed location and premises since the 1960s. Though most of the buyers were local education authorities and education committees, there were a number of primary, secondary and independent schools across the country that bought work from the exhibitions. Unfortunately, those schools which do still exist are often unaware that they once owned original works of art.

I was pleased to discover, through a chance conversation with their Head of Art, Lisa Murphy, that Manchester Grammar School (MGS) is an exception and still has several, though perhaps not all, of the artworks it purchased at Pictures for Schools. Lisa, who has been at the school since 1998, is keen to use original works with students, whether through direct observation, as part of project work, or as the basis for reinterpretation.

Manchester Grammar School Art Collection Fund was suggested by an old boy in 1956 for the purchase of original and contemporary works of art, and governors, old boys and friends of the school contributed. The collection was not just limited to works on paper, but was intended to encompass ceramics and sculpture, though this was not in evidence when I visited. In 1960, an exhibition of the collection was held. The catalogue explained that:

“The aim has been to buy pictures that are good of their kind by modern artists, known and unknown.”[1]

In the 1980s, an Ivon Hitchens work was sold to enable new purchases to be made. Aside from the Art Collection, other work belongs to the school Common Room. Some works were purchased through a bequest and some were gifts. There are also remnants of an earlier collection, and other work includes a 1945 John Skeaping print of a mare and foal which was part of the School Prints series. In addition to its own collection, the school also made use of Manchester Art Gallery’s Rutherston loan scheme for educational institutions in the north of England.

The Pictures for Schools invoice books held in Nan Youngman’s papers at the University of Reading, though incomplete, reveal that Manchester Grammar School was a regular buyer from Pictures for Schools in the 1950s and 1960s. Invoices were made out to the bursar on behalf of Art Master JH Bell, and on occasion on behalf of the ‘High Master’. John Henry Bell joined in 1951 and served as Head of Art from 1956-81. An Oxford-educated historian and scholar, he also painted landscapes, with a particular interest in mountains. He was known for an extensive collection of art and architecture slides, and recorded talks for BBC radio. At that time, the historical and critical aspects of art were emphasised in the school more than the practical aspects.

MGS corridorI recently visited MGS, a large and still academically oriented independent school in suburban south Manchester, to see what remains of the collection, and to get a sense of these artworks in a school setting, The artworks are scattered around the school, which is based around an extensive and disorientating 1930s building. In general, the school gives the impression of being filled with art and visual stimulation. Students’ work is displayed throughout the large and impressively resourced art department, as well as in the shared spaces of the school such as hallways and corridors. Changing and themed exhibitions of students’ work take place in a small gallery space next to the main reception, and there is also a small sculpture garden containing students’ work. Staff rooms, common rooms, reception, offices and classrooms also have pictures on display, ranging from formal and old-fashioned portraits of former grandees to architectural drawings of the school to work by local artists and artists who have been in residence in the school, including modern photography and graffiti-style stencil work. Some of the original mid-twentieth century Priddy 9 Barrows La Dellworks of art purchased by the school can be found among this, and highlights of the collection are on display in a wide corridor area. These include Edwin La Dell’s 1960 lithograph ‘Priddy Nine Barrows’, a green, rolling rural landscape. Though I had seen photographs of the print before, I much preferred it in ‘real life’, seeing its mark-making close-up and its colour choices appearing more vibrant.

Like many school buyers, Manchester Grammar School bought a large number of prints from Pictures for Schools, although it did also purchase paintings. Many of the artists involved in Pictures for Schools, and represented in the MGS collection, were themselves involved in art education, at secondary or university level.

Susan Horsfield Boxes of Fish MezzaninePaintings at MGS include Gordon Bradshaw’s ‘Essex Landscape’ (1962), an unusual and stylised perspective on a townscape which is reminiscent of a briefly glimpsed view of a town looking down from a railway viaduct as the surrounding countryside stretches out behind it. Susan Horsfield’s ‘Boxes of Fish’ (1961) is a detailed oil painting. Horsfield met Pictures for Schools founder Nan Youngman through their involvement in the Women’s International Art Club and was invited by Youngman to submit work to the scheme. Peter Midgley’s humdrum oil painting ‘Still Life’ (1958), meanwhile, shows newspaper-wrapped grocery shopping in Kitchen Sink-style. Midgley taught at Beckenham School of Art.Peter Midgley Still Life Oil 1958

Philip GreenwoodSchools often had less money to spend on original works of art than local authorities. Prints, which could be purchased framed or unframed, were among the most affordable works of art at the exhibitions. Furthermore, prints such as linocuts had an obvious application in the classroom; they could be used to demonstrate to students what could be achieved in a medium they were likely to use themselves in school art lessons. There are also screen prints, etchings and lithographs. These include the bold 1966 screenprint ‘Blue Night Flower’ by Dennis Hawkins – who taught at Repton School and was a founding member of the Midland Group and the Printmakers’ Council’, which edges towards abstraction. Philip Greenwood’s, ‘Slate Street’ (1965) is a dark, sketchy, angular etching, while ‘Two Friends’ is a figurative lithograph by Alistair Grant, who studied with Edwin La Dell and taught at the RCA. Another print, ‘Barmouth’, from 1984, picking out the shapes of the town through exaggerated use of line and colour, is by John Brunsdon, who designed posters for Pictures for Schools as well as selling work through the scheme.

Euan Jennings Essex Gravel Pit No 2 Linocut 1957Perhaps the work I saw on my visit I liked the most was Euan Jennings’ highly stylised 1957 linocut ‘Essex Gravel Pit No 2’, a detailed reinterpretation of an everyday and workaday landscape in blue, black and yellow, in which contrasting textures and patterns are used to create contrast between different layers and areas of foliage, water, rock and stones. Jennings’ father was Principal at Tunbridge Wells School of Art.

Delhanty Summer Landscape with Cow Parsley gouache 1959I also like Denys Delhanty’s 1959 gouache ‘Summer Landscape with Cow Parsley’, a more unconventional landscape that has something in its palette of black, white, greys and pale blues, and brush marks resembling surface scrapes and bubbles, of the quality of a photographic negative. Denys Delhanty was Head of Art at Cheltenham Ladies’ College and his work was extremely popular in the Pictures for Schools exhibitions.

Town Hall Yard BawdenUnsurprisingly, given their prominence in Pictures for Schools, a number of the artists in the MGS collection are associated with East Anglia. These include the Great Bardfield artist Edward Bawden – an artist’s proof of his linocut ‘Town Hall Yard’ (1957) is on display – as is a large, sweeping, abstracted, expressive linocut of an ‘East Coast Storm’ (1967) by Julia Ball who was, like Nan Youngman, a member of the Cambridge Society of Painters and Sculptors.

Julia Ball East Coast Storm linocut 1967I was disappointed, however, not to see abstracted linocuts of farm machinery by Peter Green, one of the best-selling artists at Pictures for Schools, which once formed part of the collection. As Lisa Murphy is making a renewed effort to locate and catalogue the works to improve their visibility in the school, I’m hoping that perhaps they might be unearthed for a future visit.

[1] Information about the collection and the history of art teaching at MGS is largely drawn from the pamphlet Art at the Manchester Grammar School, edited by David Stockwell, 1993.


A day in Coventry (on the trail of Steven Sykes and Pictures for Schools)

My interest in the artists who contributed to and sold work through Pictures for Schools, as well as the education authorities that purchased work from Pictures for Schools (and an enthusiasm for visiting and understanding more about post-war built environments more generally) recently led me on a day trip to Coventry.

I was on the trail of the artist Steven Sykes, whose work was very popular at Pictures for Schools, during which time Sykes also taught at Chelsea School of Art. He regularly submitted both drawings and works on paper to the scheme, as well as reliefs and sculptures. Many of them were themed around animals, and proved to be popular with child visitors. I first became interested in Sykes because he designed two large murals either side of the stage in New Century Hall, a concert and conference venue in the Co-operative’s former tower block headquarters at New Century House in Manchester, dating from 1963.

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New Century Hall is a large ballroom with a sprung dance floor and charismatic 1960s light fittings, and many famous bands played there over the decades. Sykes’ tall murals are stylised depictions of musicians, which sparkle when the light hits them. Like other regular Pictures for Schools contributor Julian Trevelyan, Sykes was a camouflage artist during the war, and a war artist. In the 1960s, he turned his garden and home in Sussex into an ornate work of art.

 

 

 

Sykes was also responsible for the Gethsemane chapel in Basil Spence’s modernist ‘new’ Coventry Cathedral, the winning candidate for a replacement after the medieval cathedral was bombed in the Coventry Blitz of 1940. The Gethsemane chapel, which dates from 1959-60, is a glittering room featuring an angel in richly decorated concrete inlaid with mosaic which gleams like gemstones, against a golden backdrop.

Sykes angelSteven Sykes angel headSteven Sykes angel cup

 

 

 

 

 

Steven Sykes Coventry Angel

 

Steven Sykes chapel

It’s the most opulent and luxuriant piece of art in the building, most of which is far more sparse and restrained, from John Piper’s angular stained glass windows to the muted tones of Graham Sutherland’s giant Christ tapestry to John Hutton’s etched glass angels and saints, both still and suspended in action, which catch the light from the large windows to dramatic and striking effect.

Etched glass angel

Despite its vast scale, the cathedral, with its polished concrete, fossil stone floor (like that of the Royal Festival Hall in London) and decorative and functional use of wood, feels warm and human-scale. This struck me as a great contrast to the other 20th century cathedrals I have visited, in Liverpool (particularly the Anglican cathedral), which seem designed to strike the fear of god into the visitor with their oversize scale and austere atmospheres.

The cathedral, which interacts and is juxtaposed effectively with the ruins of the old cathedral, is an ideal place to get a sense of the two sides of Coventry, old and new, and to get an idea of the cityscape that Coventry’s 20th century reconstruction replaced. It stands on a hill-top, from which narrow streets descend, filled with cosy shops and restaurants. As the autumn leaves swirl to the ground, for a moment you think you could be in Canterbury, or in Montmartre, even, as a busker plays the accordion

Cathedral BrutalismThe round, light-filled Chapel of Christ the Servant, with its floor-to-ceiling windows, on the other hand, looks out onto the brutalist architecture of Coventry university, including a high-rise accommodation block, though the modernist campus is effectively landscaped with green space.

Also in the vicinity of the cathedral is the Herbert Art Gallery & Museum, opened in 1960 and extended and modernised in recent years. Like many of Coventry’s buildings, its municipal modernism incorporates light-filled areas and large windows, notably in the stairwell. I understand that the Herbert’s collection includes a number of artworks purchased by Coventry Education Committee, as well as a former schools loan collection. City of Coventry Education Committee was one of two major Coventry buyers at Pictures for Schools, the other being City of Coventry Training College, whose collection is now on display at the University of Warwick. There was much crossover in both the artists and the types of artworks chosen for the respective collections, with artists including Kenneth Long, Mary Fedden and George Chapman.

On display in the Herbert are many artists and artworks dating from the era of the Pictures for Schools exhibitions, and representing some of the most popular artists as well as the type of urban, everyday social realism that predominated at Pictures for Schools. These included the ‘kitchen sink’ painter John Bratby, whose 1959 painting ‘Christmas Eve, Christmas Day and Boxing Day’ layers thick paint onto the canvas to create exaggerated net curtains looking out over suburban back gardens. LS Lowry offers views of gravestones outside a village church, and Ebbw Vale in Wales. ‘Landscape with Tank’ by Prunella Clough, meanwhile, from 1957, is an unconventional landscape depicting stark, geometric shapes in shiny, dark shades of grey, including the gas tank of the title. George Chapman, one of the artists associated with Great Bardfield in Essex, is represented by ‘Miner Returning Home from Work’ (dating from ‘before 1960’), a large and tall urban scene depicting a miner descending a hill through jagged streets, angular roofs, stairs and sharp edges, overlooked by TV aerials. Another very popular artist was Kenneth Long. Long’s ‘Huntingdon Street Bus Station, Nottingham’, from 1957, depicts sketchy figures in drab greens, highlighting humdrum details such as pigeons and chip wrappers. In common with Joan Eardley’s ‘Glasgow Boy With a Milk Bottle’ (1948) and the grimy, dark face of Chapman’s miner, the impression given of life in post-war Britain in these paintings is drab, poor and restrictive, a far cry from the modern world suggested by the architecture of rebuilt central Coventry and conventional, hopeful narratives of reconstruction.

Betty Rea CoventryPeter Peri Coventry

 

 

 

 

 

 

 

 

 

I was also very pleased to see a fairly large sculpture by Betty Rea, the partner of Nan Youngman, depicting a woman stretching in bronze fibreglass. Other sculpture included John Greaves’ women chatting on a church bench, and a girl waiting for a bus. The most extraordinary sculpture on display is ‘Coventry Sculpture’ by Peter Peri, another artist who submitted work to Pictures for Schools and was renowned for his work in educational settings, dating from 1958-59. The large sculpture captures pinched, rust-coloured clay figures in action, interacting with a metal tower structure. The figures capture both light and strength, suggesting sport, movement and height. They’re running, doing, jumping, climbing, throwing, building, carrying, passing, lifting, stretching, interacting and collaborating. Peri is himself in the sculpture, as a bearded figure – and the only still character!

MitchellCullen touchingGordon Cullen bicyclesGordon Cullen reconstruction

Elsewhere, Coventry’s post-war architecture boasts an impressive range of murals, many of which are tactile and seem to invite sensory exploration. These include William Mitchell’s 1966 characteristic concrete doodles on the front of the former Three Tuns pub (now a fried chicken shop), and Gordon Cullen’s large, tiled mural of 1958, now restored and relocated in the Lower Precinct of Coventry Shopping centre, which makes effective use of both pattern and abstract forms and colours, as well as narrative details from Coventry’s history and industries, from clock and bicycle manufacture to post-war planning and rebuilding.

Sainsbury's muralSainsbury's mural 2

 

 

 

 

 

 

 

 

Another 1960s mural, in Sainsbury’s, shows the expansion of Coventry, and seems to be held in high regard by staff. Another effective retail mural is carved detailing outside the large Coventry Co-operative premises, built in 1956, depicting aspects of co-operative history and symbolism, as well as products. Unfortunately the building, which still retains its original lettering as well as a plaque for the CWS (Co-operative Wholesale Society) architects’ department, is soon to be vacated by Heart of England Co-operative Society and probably demolished.

Coventry Co-opCoventry Co-op plaqueCoventry Co-op muralCoventry Co-op food muralCoventry Co-op food mural 2Coventry Co-op wheatsheaf muralCoventry Co-op Toad LaneCoventry Co-op swimming mural

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

As well as faith, education, art and retail, the people of post-war Coventry were catered for in leisure. However, another piece of Coventry’s post-war cityscape whose days are numbered is the 1960s Olympic-size pool. Like much of Coventry, its light-filled windows, which envelop swimmers in sensations of space, spectacle and modernity, are now grimy and neglected.

Coventry pipe repairsAs a whole, the centre of Coventry feels very un-English. The cathedral, and the city centre as a whole, feel like transplants from Northern Europe, from Scandinavia, from Rotterdam, where cities are more mixed use, and living in maisonettes above shops, or in blocks towering above the city centre, is normal. The city centre is dominated by 20th century structures and street patterns. Despite a number of empty shops, the central shopping area feels lively and public spaces are pleasant. Coventry, with its lingering independent and specialist shops, also feels strangely retro, a city from a different decade. The type of place where a specialist pipe repair shop can survive, and a remnant from a different time and society. Visiting really gave me a sense of the context into which artworks in Pictures for Schools were received, the priorities and cultural attitudes of the time, and the types of environments to which they belonged.

Photographs by Natalie Bradbury and Steve Hanson.


Research poster: Pictures for Schools and the ‘art of the everyday’

A poster about an aspect of my research for another of the annual in-school research events for members of the Grenfell Baines School of Architecture, Construction and Environment at the University of Central Lancashire to share what they have been working on. Pictures for Schools and the Art of the everyday poster Natalie Bradbury