Exhibition visit: ‘Marion Adnams: A Singular Woman’, Derby Museum and Art Gallery

Yesterday I went to visit an exhibition at Derby Art Gallery of a selection of artworks by the artist Marion Adnams, and an accompanying talk by the independent researcher Val Wood, who co-curated the exhibition. Spending most of her life in Derby, Adnams has been billed as something of a ‘forgotten’ artist. Like many women of her generation, Pictures for Schools founder Nan Youngman included, Adnams went into teaching; she taught art for many years at a girls’ school in Derby, where she borrowed artworks to hold an exhibition in school, and later became head of art at a teacher training college in Derby.

The work shown in Derby, primarily paintings, fits into a surrealist lineage. Demonstrating great technical skill, Adnams created fantastical imagery and imagined landscapes from found objects such as rocks and branches (a selection of these objects were on display alongside the paintings), and museum objects from Derby Museum, as well as everyday buildings such as a gas tower, and aspects of country life such as wagons, showing how the mysterious could be found in the everyday. One series incorporates model-like figures based on paper dolls she made as a child. Several of these paintings are on loan from public collections, including Salford Art Gallery, Manchester Art Gallery – where they were purchased as part of the Rutherston Collection for loan to schools (two of these paintings were displayed in Manchester Art Gallery’s 2010 exhibition of women surrealists, ‘Angels of Anarchy’) – and the Derbyshire School Museum Service, where one of the paintings was purchased by Evelyn Gibbs, who acted as art adviser to several local education authorities.

Although Adnams’ life was grounded in Derby, Woods focused on the wider artistic milieu of which she was part, which included friendships with other artists as well as with writers and poets such as John Betjeman – whom she advised on church buildings in Derbyshire, the subject of several early woodcuts – and the socialist and feminist poet Audrey Beecham. She exhibited in London, with the support of the gallerist Jack Bilbo. From 1939, she was supported by the friendship and encouragement of the director and curator at Manchester Art Gallery. She exhibited with the Artists’ International Association in 1945. She forged connections more locally, too; in 1946-47, she joined the Midland Group, which was set up by the artist-educationalist Evelyn Gibbs, and which aimed to educate and develop the public’s appreciation of art – this included running a picture hire scheme for businesses, schools and universities, as well as holding a Nottingham edition of Pictures for Schools. Adnams exhibited alongside artists such as Dorothie Field, who had been a student of Nan Youngman’s at Highbury Hill High School for Girls. Field was highly politically engaged and painted social realist scenes inspired by mining communities and incidents such as the Aberfan disaster. Later, Adnams developed a friendship with the writer and broadcaster Ray Gosling, who wrote a catalogue essay for a 1971 retrospective.

Adnams studied modern foreign languages at university as a young woman and embraced foreign travel; objects found in Mediterranean destinations such as Provence were also the inspiration for her work.

Adnams’ work was sold to a number of educational collections, in Leicestershire, Derbyshire and Manchester. I will be exploring the history and ethos of some of these collections in a talk at a symposium to be held about Adnams in Derby on Wednesday 7 March. For more information visit www.eventbrite.co.uk/e/marion-adnams-symposium-tickets-42085404578.

‘Marion Adnams: A Singular Woman’ is at Derby Museum and Art Gallery until Sunday 4 March. For more information visit www.derbymuseums.org/whats-on/marion-adnams-a-singular-woman.

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Consultations on the future of art loan services in Derbyshire and Hertfordshire

I was dismayed to hear last week that two of the (very few) remaining local authority art loan collections for schools, in Hertfordshire and Derbyshire, are currently consulting on their future and are at risk of closure.

Both are significant collections of twentieth century art, encompassing paintings, prints, sculptures, textiles and ceramics, with a particular strength in post-war British art. Both collections are also closely linked to significant figures in the history of British education, who took a keen interest in their development and use as part of an education and educational environment in which art was valued not just in its own right, but for its potential to enrich the child culturally, socially and emotionally.

Both LEAs purchased work from Pictures for Schools and supported the scheme in other ways, such as assisting with the selection of the artworks; in the post-war period, both Hertfordshire and Derbyshire were regarded as running flagship museum services for other local education authorities to emulate. Both collections have continued to actively acquire new work from contemporary artists.

Hertfordshire’s collection was established alongside an extensive and highly regarded school building programme which took place after the Second World War, which used innovative building techniques and saw artworks bought and commissioned for new school buildings. Director of Education Sir John Newsom, author of the 1963 Newsom Report, was an influential figure in post-war educational reform, who advocated for the importance of the arts in schools as part of a rounded education. Pictures for Schools founder Nan Youngman turned down a job as Newsom’s art adviser in order to work for Henry Morris in Cambridgeshire; this position was held instead by artists Audrey Martin and Mary Hoad, both of whom were active in the Society for Education through Art and interested in new ideas about art education (Hoad was also Principal of St Albans School of Art). For more about the history of the collection see www.hertsmemories.org.uk/content/herts-history/topics/art-and-artists/hertfordshires-county-art-collection/the-hertfordshire-county-art-collection.

Derbyshire’s collection dates back to a Carnegie Trust grant in the 1930s, yet reached its heyday in the post-war period under another progressive Director of Education, Jack Longland, who had been Newsom’s deputy in Hertfordshire and was inspired by Henry Morris’ village colleges model, and Museum Service Organiser Barbara Winstanley. Both Longland and Winstanley took an active interest in Pictures for Schools, by serving on organising, planning and selection committees, and giving feedback and other support to the scheme.

Sadly, it appears that the collections have fallen victim to the challenges that have faced such services in other locations. These include a squeeze on school finances, pressures on council budgets, and the rising values and associated insurance costs of many of the artworks, coupled with a lack of specialist understanding and staff resources to enable schools to make optimal use of these artworks.

For more information about the potential sale of the Hertfordshire collection, much of which has been in storage for several years, visit www.hertfordshiremercury.co.uk/news/hertfordshire-news/council-dispose-of-over-1600-1106692.

The consultation about the ‘disposal’ of Hertfordshire’s work is being done in stages; the first round of the consultation shuts on Sunday 4 February. The council proposes selling those artworks which are not considered to have ‘relevance’ to Hertfordshire. For more information, and to add your views, visit www.hertfordshire.gov.uk/about-the-council/consultations/property/art-collection-consultation.aspx#.

The Derbyshire consultation closes on Sunday 11 February.


Guest lecture, Bradford School of Art, 15 November: ‘The Campus as Art Gallery: The Past, Present and Future of Educational Art Collections’

Bradford College posterI 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.


Article about Henry Collins and Joyce Pallot’s BHS murals in the latest modernist magazine

DSC_4359For the latest issue of the modernist magazine, themed ‘Gone’, I’ve written about the visual legacy of the (now-gone) BHS in the form of a series of murals by the Colchester-based husband and wife team Henry Collins and Joyce Pallot. Together they made a prolific team, creating work for the Festival of Britain as well as other high-profile locations.IMG_0185I’ve spent the past eighteen months or so visiting their murals for BHS and Sainsbury’s in Harlow, Colchester, Stockport, Newcastle and Bexhill (there are others I’ve not seen in places including Oxford, Gloucester and Southampton), which incorporate shopping imagery as well as visual references to the history of the town in which they are situated.

12983371_1775660349322143_8265186271096196655_oBoth Collins and Pallot were practising artists and members of Colchester Art Society outside of their collaborative practice and exhibited paintings at Pictures for Schools; Collins sold work, including Essex scenes, to Essex Education Committee.

11016115_1716968421858003_2888935922560100705_oTo buy the magazine click here.


Visit to the University of Salford Art Collection

I recently spent some time in the store of the University of Salford Art Collection, which has been acquiring contemporary art since the university’s inauguration in the late-1960s, and finding out about its history and future plans from curator and assistant curator Lindsay Taylor and Steph Fletcher.

To read my interview visit http://theshriekingviolets.blogspot.co.uk/2017/05/an-education-through-art-university-of.html.


Exhibition visit: Picturing Faith: An Exhibition of the Methodist Modern Art Collection, the Beaney, Canterbury

Unsurprisingly for a collection of twentieth century artworks developed in the 1960s, there is some overlap in the artists represented in the Methodist Modern Art collection and Pictures for Schools. At a time when much was being down to improve the appearance of both public and corporate spaces, and attempts were being made to introduce art to a wider section of the population, the collection was developed to enhance the visual environments of Methodist churches, and to increase the church’s visual appeal. Today it tours to venues in different towns and cities, from churches to art galleries to libraries, to ensure many people can see and access it.

Much of the work in the collection isn’t exactly to my taste, being slightly intimidating to the casual viewer not overly familiar with the stories, histories and teachings depicted. Much of it is literal and narrative, depicting scenes from the Bible, although it incorporates developments in modern art.

The freer, busy shapes and spliced up watercolour imagery of Norman Adams, whose colourful Stations of the Cross are a modernist intervention into the ornate overdecoration of catholic church St Mary’s the Hidden Gem in Manchester, is interesting, but the work that engaged me most is that which steers away from storytelling to depict emotion and expression. Among the most powerful works in the collection are Elisabeth Frink’s 1956 drawing Pieta, which presents a face full of knowledge in her signature big-nosed style, framed with a subtle crown of thorns, statuesque and suffering yet stoical. In a similar way a sombre and still oil painting by Philip Le Bas, who sold work including a painting of The Last Supper at Pictures for Schools, The Stripping of Our Lord (1962) is cracked as if betraying the experiences behind its creation.

Another highlight is Theyre Lee-Elliott’s Crucified Tree Form – the Agony (1959), in a sickly, ghastly end-of-the-world yellow and black that almost has the quality of surrealist painting or a black and white photographic documentary print. The anthropomorphic tree of the title teems with the barbs created both by humans and by nature.

A more recent highlight is Maggi Hambling’s Good Friday: Walking on Water 2006, which is dominated by the churned tumult of the waves; Christ’s small, ghostly figure floats across the water, barely perceptible in contrast to natural forces.

Some of the most significant British artists of the twentieth century are represented in the collection, including the wonky perspective of Patrick Heron’s Crucifix and Candles: Night 1950, Ceri Richards’ caricature-esque The Supper at Emmaus (1958), Graham Sutherland’s skeletal, entombed Christ in the Deposition (1947) and Craigie Aicheson’s starkly floating yet pop figure on a cross, Pink Crucifixion (2004).

One artist who sold artworks at Pictures for Schools is Dennis Hawkins, long-serving art teacher at Repton School, who transforms the lid of a school desk into Pentecost I (1962) with the deceptively simple depiction of a large circle and block lines, suggesting the intervention of Christ into everyday life. Hawkins’ paintings and reliefs, inspired by subjects such as the moon landings and space travel, were among the most modern in form and subject matter sold at Pictures for Schools, making their way into educational collections in Oxford, Carlisle, Southampton and Wales in the mid to late 1960s as well as various schools and teacher training colleges; his print Blue Night Flower still hangs in Manchester Grammar School.

However my favourite work on display is The Cross Over the City (1962), a tactile relief by the architect and artist Michael Edmunds, who worked for the Greater London Council. Reminiscent of an aerial view, the piece incorporates mosaic, repetition and pattern, suggesting rooftops in its materials and dusty colours yet remaining abstract and inviting contemplation close-up and from afar. Apparently Edmunds did an exterior relief for a church in Stockport; there are several Methodist churches in Stockport so it’s going to be a challenge to track it down!

Picturing Faith is at the Beaney, Canterbury, until Sunday 23 April.

To find out more about the collection visit www.methodist.org.uk/prayer-and-worship/mmac.


Exhibition visit: Evelyn Gibbs in Peace and Wartime, Nottingham Castle

13923546_1826265707594940_8409612827567881721_oOne of the first books I read when I started my PhD, to gain some context of the experiences of interwar women artists and art education, was Pauline Lucas’s Evelyn Gibbs: Artist and Traveller. It’s a biography of the painter and art educationalist Evelyn Gibbs, a contemporary of Nan Youngman’s who was involved in Pictures for Schools as a submitting artist as well as a member of the organising and selection committees in early years.

Gibbs settled in Nottingham after evacuation during the war and was a founder of the Midland Group, which organised travelling exhibitions around workplaces, such as ‘Art for All’, as well as producing murals in public and commercial settings such as factory canteens. She also, like Youngman and many Pictures for Schools contributors, exhibited with the Artists’ International Association, including a still life of cake treats lined up on a canteen counter included in the ‘For Liberty’ exhibition in the basement canteen of the Blitzed John Lewis.

Lucas has now co-curated an exhibition at Nottingham Castle Museum and Art Gallery focusing on two periods of Gibbs’ work. The first highlights her time studying in Rome in the late 1920s and early 1930s, where she produced delicate etchings exuding human experience and emotion. The second is a body of work produced as a war artist, documenting women’s work at the Raleigh Factory in Nottingham, in a blood transfusion unit, and in a women’s voluntary centre in Leicester which encompassed activities such as a swap shop and clothes exchange. Elsewhere, she documented the jumbled disruption of bomb sites.

It’s the latter set of works that I find more compelling. In the Raleigh factory, women workers are dwarfed by machinery, towering stacks of boxes and components. Other paintings created during the 1940s capture the more mundane: streets, reflections, facades, trees, windows and huddled figures.

Gibbs’ work is represented in county collections including Leicestershire, Derbyshire, Nottinghamshire and London. Nottingham Castle, too, contains a body of mid-twentieth century paintings in its collection, in which several names familiar from Pictures for Schools are represented, including John Piper, LS Lowry and Ben Nicholson. Men of Straw demonstrates Richard Eurich’s strange, narrative storytelling, which was popular with child visitors to Pictures for Schools. Marion Adnams lines up the backs of terraced houses and rows of gravestones, overlooked by the tall order of a church spire. Carel Weight’s African Girl 2 is a striking portrait of a model in an artist’s studio. It’s here, too, that I found the Gibbs work I liked the best: Industrial View of 1953, in which a blur of blue, red and grey chimneys, swept with wispy smoke, blend into an overhanging dusky sky.

Evelyn Gibbs in Peace and Wartime continues until Sunday 9 October.

For more information visit www.nottinghamcastle.org.uk/explore/exhibitions/evelyn-gibbs.