Exhibition visit; Joy For Ever: How to use art to change the world and its price in the market, Whitworth Art GalleryPosted: June 4, 2019
Marking 200 years since the birth of the writer, critic and teacher John Ruskin, Joy For Ever brings together archival material and historic and contemporary artworks to profile and interrogate Ruskin’s ideas, question whether they have relevance today, and ask what a ‘socially useful’ art might look like now and in the future.
Although it’s not exclusively focused on Manchester, some of the most interesting content in the exhibition relates to the ways and places in which the people of the city have been exposed to and encouraged to interact with art, craft and design over time, including during the city’s nineteenth century industrial heyday and resultant population explosion. This includes material relating to the Art Treasures exhibition which was held in Old Trafford in 1857, in the vein of the Great Exhibition of 1851 at Crystal Palace in London, and the Horsfall Art Museum in Ancoats. I discovered that the latter set up a picture loan scheme in 1890, lending sets of pictures to schools including Manchester Grammar School. Ruskin himself was a teacher as well as a prolific writer and lecturer; particularly interesting was a section relating to his teaching of women, at a time when women’s education was not encouraged, and the types of topics he considered it necessary for them to study, including science, ecology and economics.
Nevertheless, the exhibition acknowledges that many of Ruskin’s ideas now appear old-fashioned at best. For example, it shows how Ruskin and contemporaries such as William Morris sought to influence people’s taste, and the way in which they lived, by designing and promoting products and furnishings aimed at introducing ‘good’ craft and ‘design’ into the home. Aside from the problem of who gets to decide what and what isn’t ‘good’ design, these were, of course, priced well beyond the reach of the workers at which they were aimed.
Joy For Ever is at the Whitworth Art Gallery until Sunday 9 June: www.whitworth.manchester.ac.uk/whats-on/exhibitions/upcomingexhibitions/joyforever/
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/
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.
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.
My PhD concerns not just the changing experience of post-war education, but the changing places in which it took place and the significance of educational environments, including the incorporation of examples of original and contemporary works of art and design into school buildings. This week I’ve been thinking about an educational environment that has been significant to me, the University of Manchester’s former UMIST campus in Manchester, where I lived as an undergraduate. UMIST is currently subject to a Manchester City Council consultation around a proposed Strategic Regeneration Framework, which would see a loss of the campus’ modernist heritage as well as areas of green space. Manchester Modernist Society is currently encouraging interested parties to comment on and object to the proposals that have suggested in the SRF. Here the comments I submitted:
“I would like to comment on the North Campus as a longstanding-resident and user of the city centre, including as a student, and a visitor to the city centre. As an undergraduate student at the University of Manchester (2005-2008) I spent three years living in Fairfield Hall, part of North Campus, and found it a very attractive and pleasant place to live, and also to undertake student activities. For example, I played in the University of Manchester Fellows Orchestra, which rehearsed in the Renold Building, and performed in the Sackville Building, and as a student and alumni of Manchester University I have also made use of the Joule Library, also based in Sackville Building. I found North Campus a very pleasant place to live as a student, well-connected but peaceful due to the lack of road traffic and used in the summer for outdoor activities, particularly in Vimto Gardens, a well-known landmark and meeting place. I found it to have a strong sense of place, both due to the campus architecture and sense of coherence of the campus plan and landscaping, and due to the use of public art referencing the area’s history and the way in which the university had shaped it. Its identity is both strong and distinct from other areas in Manchester City Centre. I consider those formative years spent living on North Campus to have piqued an interest in twentieth century art and design that stay with me to this today – I am now undertaking a PhD on the subject at the University of Central Lancashire (co-supervised by Dr Hannah Neate of Manchester Metropolitan University), and write regularly on public art, planning, landscaping, education and design, including for the modernist magazine.
Immediately following graduation I spent five years living in M1 (in the vicinity of Piccadilly Station), followed by eighteen months living in Castlefield, and continued to visit UMIST, particularly in the summer, as a quiet and green place to sit, read and have picnics. I also used UMIST regularly (and continue to do so) as a traffic-free pedestrian and cyclist route from the Piccadilly area to Oxford Road. I have also visited on a number of occasions as part of Manchester Modernist Society tours and events, and learnt about the significance of the architecture and the campus plan; I myself used to take visitors to show them Hans Tisdall’s mosaics in the Faraday Building, and they have been featured in my magazine the Shrieking Violet: https://issuu.com/natalieroseviolet/docs/the_shrieking_violet_issue_3
I no longer live in the city centre, but I work there and continue to visit UMIST, both as a green space and as a traffic-free pedestrian and cycle route heading out of the city centre for South Manchester.
I am concerned that the North Campus SRF focuses on the heritage of Sackville Building (and rightly so) but fails to take into account the architectural significance of a number of the mid-twentieth century ‘modernist’ buildings, which have both architectural significance (particularly the Renold Building) and as a cluster of buildings developed at a time of scientific, educational and technological expansion, which represents a significant shift towards modernity for Manchester’s cityscape. This demonstration of modernity and innovation is reinforced by North Campus’s proximity to the Mancunian Way, itself an innovative and high-profile example of Manchester’s post-war planning.
I am concerned about the removal of Hans Tisdall’s the Elements mosaics and I am particularly concerned that the mural in the Renold Building is not highlighted as a heritage asset, despite the fact that it is by one of Britain’s most important mid-twentieth century abstract artists, Victor Pasmore, who also contributed significantly to the development of British post-war art education through the Basic Design movement. Pasmore’s Renold Building mural is a rare example of a publicly accessible and viewable work by an artist by that stature in Manchester – indeed, his most celebrated work, the Apollo Pavilion in Peterlee, County Durham, has been the subject of extensive restoration and renewed interest in recent years. The mural is particularly significant, I feel, due to the post-war historical context in which it was commissioned, when educational and state bodies (including a number of universities) assumed responsibilities for patronage of contemporary art.
At a time when English Heritage is promoting the listing and retaining of post-war public artworks, I am also concerned that Anthony Hollaway’s Hollaway Wall is underlooked in the report, and that there are suggestions to shorten or move this Grade II listed structure, which acts as both an artwork and as a sound buffer. I consider the Hollaway Wall to be a rare and significant example of an architectural sculpture in Manchester, by an artist who built up a considerable reputation for his work across the country in the post-war period, particularly as an in-house design consultant for the London County Council. Along with William Mitchell, he was innovative in his experimentation and exploration of the use of materials for artworks in public places, including concrete, and was versatile in his media (for example, he designed a modern stained glass window for Manchester Cathedral). Hollaway’s work in Manchester, including the Hollaway Wall, commissioned with the local architects Fairhurst and Sons, is also a good example of a post-war emphasis on collaboration between architects, artists, designers and builders.
Finally, as alluded to previously, as a longstanding user of the space, I am concerned about any loss of green space in the North Campus area, including a reduction of space in Vimto Gardens, particularly in a city where parks and green spaces are in short supply. Although Sackville Gardens is nearby, it attracts a considerably different demographic and has a different atmosphere, due to its proximity to the clubbing area of Canal Street, where outdoor drinking is much more established. I consider the area’s landscaping, including mature cherry trees, to be one of the most successful aspects of the campus, which gives it a strong sense of place.
I would welcome a reuse of existing buildings, including railway arches and Sackville Building, and feel that an increase in the number of people living, working in and visiting the area would justify the retaining of significant areas of green space and make it an attractive place in which to live, work and visit.
I am also extremely concerned about any proposal to add roads through North Campus, and to increase the flow of vehicle through it, as I have appreciated and regularly used it as a quiet, traffic-free route as a pedestrian and cyclist. I am concerned that a road would both damage the atmosphere and landscaping of the campus, as well as leading to increased traffic, noise and pollution. The area is already bounded by several major roads, from the A6 to the Mancunian Way.”
I enjoyed the new film by Manchester-based film-maker Huw Wahl, who directed the Herbert Read documentary To Hell With Culture a couple of years ago. Huw’s new documentary focuses on Action Space, an ‘instant performance space’ developed in the 1960s by his father, Ken Turner. The Action Space collective created inflatable, movable, interactive sculptures which could be put ‘up and down in a flash’, taking art onto the streets and providing an immersive environment and experience for children and adults that incorporated music and performance. Almost fifty years on, the experimental spirit and ethos of Action Space still shines through, with Turner still committed to the transformative potential of art and its ability to affect social change.
For more information and dates of screenings, visit www.hctwahl.com/as/index.html.