Saturday, 21 March 2015 by Sarah Butler
In this month's 'Staff Picks' feature, Karen Mee, Visitor & Enquiry Support Coordinator in Special Collections, talks about felines with feeling! A delightful m(eow)using on a fabulous choice!
In this month's 'Staff Picks' feature, Karen Mee, Visitor & Enquiry Support Coordinator in Special Collections, talks about felines with feeling! A delightful m(eow)using on a fabulous choice!
Eric Gill's controversial First World War Memorial 'Christ driving the Moneychangers from the Temple' is the latest in our 'Public Art in Focus' feature. Hear what art historian Ben Read has to say about this piece.
In this month's 'Public Art' feature, Professor Ann Sumner, our Public Art Project Officer, talks about what she's been up to recently and outlines her vision for public art on the University campus.
Image: Professor Ann Sumner in front of Quentin Bell's The Dreamer in Clothworkers' Court.
I was honoured to be asked to deliver a research seminar by Professor Griselda Pollock for the School of Fine Art, History of Art and Cultural Studies. On a chilly night in late February it was heartening to have a full house of staff and graduate students attend. The title of my presentation was Public Art for All - Curating the Campus at the University of Leeds and a new Strategy for Public Art. I considered the initial vision for a comprehensively curated campus highlighting new commissions such as the Simon Fujiwara A Spire, which will be unveiled outside the new Laidlaw Library this summer. There will also be a programme to commemorate Mitzi Cunliffe's Manmade Fibres 60th anniversary in 2016. I considered new research published on interpretation of campus art by English Universities, benchmarked against some inspirational American University models from Princeton to the Universities of Texas and Chicago and broadly outlined some of the key research themes for a potential Research Institute at the University of Leeds. Some lively debate ensued and I have followed up with some excellent feedback from staff members such as Will Rea, former Chair of the Harlow Art Trust and Dr Claudia Sternberg, Senior Lecturer in Cultural Studies, with regard to World War I commemoration.
I have since lectured to the MA Art Gallery and Museum Studies students which resulted in an enthusiastic discussion afterwards and we hope to recruit two exciting student placements to support the Public Art Project, as a result. I am looking forward to speaking to Creative Writing Students in the School of English at the end of April, when I will also be lecturing to the School of Design staff and students. I'm also delighted to have been asked to speak to the Friends of Art and Music (FUAM) at the University in June or July this year. The Reporter also reported my appointment which means people now recognise me when we arrange to meet up!
I have had some really stimulating and exciting discussions with staff across campus including with the poet Helen Mort, current Douglas Caster Research Fellow, and Linda France, Creative Writing Fellow in the School of English. We hope very much that the new Campus Public Art Map will reflect literary responses to the sculpture on display and that the project will encourage everyone to look more closely at familiar works on campus with new eyes. Over the summer months, we plan some short 15 minute lunchtime talks to shed new light on our campus treasures.
As we bid a fond farewell to our 'Nostalgia & Progress' illustration show at the end of February, we thought Josie Walsh's delightful reflections on Esme Eve's 'Girl With A Hat' was a perfect pick for our Creative Writing feature this month.
Image: Esme Eve (1920 - 2010), Girl With Hen and Chicks on Hat (1955), gouache on paper, The Estate of the Artist.
It frames your tilt of brow,
set smile, you seem hat-conscious
though, as you stand in water,
higher than your head.
Air bubbles from your lips.
Fish nibble, eight of them.
They have ventilation
of their own. They are sleek,
multi-sized and look quite
You have the handle of a net
in your right hand.
Its patterned twine is level
with your hat's dahlias, daisies
and forget-me-nots that ornament
Your stranded hair
hangs like pasta
before it hits hot water.
Your feet seem sucked
to something solid
beneath the deep. But,
Art, when it is buoyant, waives logic.
In our latest 'Staff Picks' feature, Gallery Attendant, Ruth Quinn muses and enthuses about marine painting and its much deserved place in the University's Art Collection.
Henry Barlow Carter, Wreck off Scarborough, watercolour on paper, c.1840s. Image © The University of Leeds
I can't say that I have a favourite work of art; instead I have many different favourite styles and painterly subjects that I hold dear, one of which is marine painting and the sublime seascape.
The seductive power of the sea was big business during the Romantic period and artists would go to great lengths to observe the forces of nature. For example, the painter Joseph Vernet reportedly tied himself to the mast of his ship during a storm to better observe the dramatic sea!
In this painting by Henry Barlow Carter, we see a ship meeting its watery end off the coast of Scarborough. It is both a beautiful and terrible image, and I guess that is one of the things that I am drawn to about marine painting in general. The foamy waves are soft and beautiful, reflecting the silvery moonlight. However, the stormy clouds and tilting vessel are much harder, depicting the destructive power of the sea.
H.B Carter was a marine and landscape artist who also served in the Royal Navy. He eventually settled in Scarborough in the 1830s and earned a living offering private art tuition and selling his paintings of the local area to Victorian tourists. Carter's style is clearly influenced by the great J.M.W Turner; this is acknowledged on a hand written label attached to the reverse of the work:
'Carter, without being an imitator or copyist of J.M.W. Turner produced works from his own feeling and individuality that have much of the Turnerian character, and /many examples of his best time possess qualities which, in their way. have never been surpassed'.
Carter's sons both inherited their father's artistic talent. Carter's eldest son, Henry Vandyke Carter studied anatomy and in 1857- 6, drew the illustrations for the now famous textbook Gray's Anatomy.
With the new appointment of Public Art Project Officer Ann Sumner, we begin a new series of monthly posts highlighting the sculptural treasures which await discovery on the University of Leeds campus.
'Sculpture must again be made accessible' wrote the extraordinary American sculptor Mitzi Solomon Cunliffe in 1950 in Sculpture for Architecture. 'Sculpture withers now in the hot house of galleries and museums for temporary exhibits, catering to a faceless feeble audience of dilettantes and critics,' she continues. Cunliffe wanted to see sculpture 'taken for granted by people as part of the natural environment, the stuff of life'.
It is certainly true to say that many students and staff here at the University of Leeds, as well as visitors onto campus, may overlook her important sculpture Man Made Fibres, for it is situated so high over the entrance on the side of the Clothworkers' Building South. The University's new Public Art Strategy is currently being finalised and in a new approach to curating the unique campus at Leeds, the sculpture will however be highlighted and fully interpreted over the next few years along with the other sculptures situated on campus. The University's public art collection is under the care of The Stanley and Audrey Burton Gallery which will be featuring a monthly focus on public art in its e-newsletter and blog and through its social media channels. Each month going forward, a member of staff from the University will explain why a key artwork on campus has special meaning for them. Cunliffe's piece is the first to be selected. This work is particularly appropriate for the month of February as Cunliffe is best known for her design of the famous theatrical mask, the BAFTA award, which she designed during the same period in which she was commissioned to sculpt Man Made Fibres.
Mitzi Solomon Cunliffe (1918 - 2006) was born in New York and attended the Art Students League of New York from 1930 - 1933 before studying fine art at Columbia University from 1935 - 40. She moved to Paris where she attended the Academie Cobrossi for a year before continuing her studies in Sweden. Her early works were greatly admired by Le Courbusier. In 1949, Cunliffe came to England where she married a British academic and moved to Manchester where her new husband taught at the University. Her first large scale public artworks were commissioned for the Festival of Britain in 1951, on London's South Bank. She was amongst 15 painters and sculptors that produced new work for facades and interiors, six of whom were women. Her most significant piece was Root Bodied Forth, an 8ft concrete group. She also designed a pair of Push and Pull door handles for the Regatta Restaurant. In 1952 she created The Quickening which is now at the School of Civic Design at the University of Liverpool and probably her best known commission was a pierced screen for John Lewis's Department store, also in Liverpool. Her work from this period displays huge optimism about the possibilities of working during a period of reconstruction.
It was in 1955 that she was commissioned to create the now infamous bronze awards for the Guild of Television Producers and Directors; the same year in which she was commissioned to create the work at Leeds University. During the 1960s, Cunliffe turned from creating individual pieces towards mass production with more abstract deigns for casting in concrete. These she described as Sculpture by the Yard, the title of an exhibition which toured widely in Britain and abroad. Her last major commission was 4 panels for the Scottish Life House in London (completed 1970/demolished 2007, panels preserved). The effort involved in creating this work using heavy power tools and working to a strict deadline, was crippling for her physically. Coming just a year after her divorce, it was to be her last work before a career change, turning to teaching, first at Thomas Polytechnic (now South Bank University) and later in New York, Philadelphia and Montreal. She wrote regularly on sculpture and architecture, for instance 'The Possibilities of University Architecture' in Architecture and Building, 1959. In later life, living in Oxford, Cunliffe fell victim to Alzheimer's. She last exhibited in 2001 at Oxford Brookes University in an exhibition for Alzheimer's sufferers entitled Look Closer - See Me. In 1999, a Travelling Scholarship in her name was established at the Ruskin School of Drawing at the University of Oxford.
In July 1955, having been in discussion with the sculptor for six months beforehand, the University of Leeds commissioned Cunliffe to commission a new sculptural work for the Clothworkers' South Building (then called the Man Made Fibres building.) Preparatory drawings were submitted in August 1955 and materials agreed by the end of the year, with the Portland stone and turntable required for making, being delivered to her Didsbury studio just before Christmas of the same year. Cunliffe recalls that she started the sculpture on 13 February 1956, having completed all the preparatory maquettes. She worked on the piece for five months and it was installed and unveiled to the public in the summer of 1956. A fee of £2,450 was paid to her by the University. Press interest during the project came from the Manchester Guardian and the London Evening Standard. During her time working on the commission, Cunliffe developed a close working relationship with Professor J B Speakman of the Department of Textile Industries and a large correspondence between the two survives, alongside documentary photographs which are now held in the archive of The Stanley and Audrey Burton Gallery.
The commission coincided with the production of Cunliffe's most famous work, the design for the awards for the Guild of Television Producers & Directors (what we now know as the BAFTAs). On Oct 12 1955, she wrote to Prof Speakman that she was 'enclosing some photos of the tiny 7 inch trophy I have designed for the Guild of Television Producers and Directors, six bronze casts of which were awarded on 10 October. The picture of me is included only to show you the inside-out of the mask, plus the preliminary drawings'. She also inquires as to whether a further commission for a mural is to be progressed or 'has it died a death'? Cunliffe remained engaged with the University of Leeds, maintaining her friendship with the Professor, loaning a bronze maquette in 1961 and recording that in the late 1950s when she was in Leeds she visited the campus at night to see how the piece was weathering. To mark 60 years since the commission, a related display about the commission and this fascinating female artist is scheduled for 2016.
Creative writing workshops often take place in the Gallery as part of our Burton Saturdays programme. Read some of the varied outcomes in our new blog feature...
Tony Quipp came to a "stimulating workshop" run by Suzannah Evans at the Gallery a couple of years ago and took some notes on John Currie's workThe Seamstresses. The result is a unique reading of the work in poetic verse.
In our latest Staff Picks feature, the Gallery's new Exhibition Intern, Helen Butler, writes about a thought provoking work held in the University's Art Collections.
Richard Hamilton, I'm Dreaming of a Black Christmas, screenprint on collotype, with collage and wash, 1971
In a 1957 letter, the Pop artist Richard Hamilton describes everyday consumerist culture as 'Popular, Transient, Expendable, Low Cost, Mass Produced, Young, Witty, Sexy, Gimmicky, Glamorous, and Big Business'. In I'm Dreaming of a Black Christmas, Hamilton uses a still from the 1954 Bing Crosby movie White Christmas, transferring mainstream material into art: a ritualised sphere that typically stands outside of everyday life.
Richard Hamilton, I'm Dreaming of a Black Christmas, screenprint on collotype, with collage and wash, 1971 © R.Hamilton. All Rights Reserved, DACS 2013.
Hamilton made a number of works using this image. His 1967 screenprint I'm Dreaming of a White Christmas features the same frame, yet it appears as a negative. In the Black Christmas screenprint, the colours are reverted back to positive to create a familiar yet strange incarnation of the film still. Hamilton's complicated process from cinematic frame, to etching, to print, switching between positive and negative, hints at the technological trickery of Hollywood movies, yet here, one questions the manufactured reality. The print is edited and filtered through modes of fine art, using techniques such as hand painting and collage. This calls into question the fictitiousness of the movie, which itself relied on processes like lighting, illusionistic settings and colour processing.
Hamilton's work offers an interesting perspective of the effects of an increasingly mass produced, accelerated and technologically centred culture upon artistic production. The form of the copy, rather than being indicative of plagiarism, is seen as an intrinsic and unavoidable condition of contemporary art making in a world of mechanical reproduction. I'm Dreaming of a Black Christmas recreates the content of the Bing Crosby still very faithfully, yet does so in a way that it does not ring true. Instead, its de-contextualisation allows for greater reflection upon the mythologised aspects of the media. By elevating a piece of pop culture, Hamilton reveals the desires, values and ideals of contemporary society.
It is worrying to think that our perception of the real is so interconnected with illusionistic media. I find Hamilton's print fascinating because of the uncertainties surrounding its reading. While Hamilton's Pop pieces do not seek to deride or celebrate mass media spectacle, I'm Dreaming of a Black Christmas, perhaps ironically, affirms the status of popular culture artefacts. This can be seen to counter the intellectual rejection of popular culture, or perhaps to deliberately provoke by including these references within a piece of art. The title, referring to a 'black Christmas', immediately evokes a sense of unease or cynicism and deliberately counters the romanticised and sentimental nature of the source material. While his choices reflect an admiration of the skill of the filmmaker and recognition of the pleasure this gives society, his work also raises questions surrounding popular culture's manipulative qualities. Full of ambiguity and double-meaning, I'm Dreaming of a Black Christmas can reveal a lot about our attitudes towards our own contemporary consumer society.
…well, The Stanley & Audrey Burton Gallery at least! Sarah Butler tells us why...
Our new exhibition at The Stanley & Audrey Burton Gallery, Nostalgia & Progress: Illustration After the Second World War marks the third instalment in the Gallery's popular occasional series exploring the history of printing techniques and British book illustration.
Bawden, Ardizzone, Keeping, Dulac, Searle, Hearld, Sutton...the show is a veritable (and visual) feast of big names from the world of illustration both old and new. Over one hundred framed works, ranging from monochrome linocuts through to detailed ink drawings and candy-coloured kitsch screenprints adorn the walls in vibrant constellations.
Whilst technological advances may have changed the way some present-day illustrations have been produced, for example, Matthew the Horse has used an inkjet printer to create his lively Houseplant series, clearly, many of the contemporary artists have been inspired by their illustrious, illustrator forebears. Alice Pattullo's lithograph Whitby Whaling, for example, echoes Edward Bawden's 1950s Brighton Pier both in its jaunty style and seaside subject matter. The shadowy palate favoured by Charles Keeping for his sinister literary illustrations in the 1970s is referenced in Ed Kluz's brooding images of historical buildings drawn on scraperboard.
Alice Pattullo, Whitby Whaling, 2013, 4 colour lithograph produced in collaboration with the Curwen Studio. (c) The Artist
I also find it fascinating how, sixty years on, some illustrators are still employing traditional media and techniques to produce their work. Emily Sutton uses jewel-hued watercolours in her charming book covers in a similar way to Edmund Dulac, who was at his peak in the 1950s.
Who said illustrations were just for books and children? You don't need to be a bibliophile to enjoy this exhibition. Indeed, one of my favourite pieces is the David Gentleman Quayside at Mistley lithograph that greets you as you walk into the display area.
David Gentleman, Quayside at Mistley, 1966, lithograph, printed at the Curwen Studios. (c) The Artist
There is even an interactive element to the show to satisfy all you budding Bawdens and gadget gurus out there. Combine old-school creativity with cutting-edge technology by drawing a picture, photographing it with our iPad and then decorating your uploaded work on screen. All the images will be added to the Gallery's Flickr account so it's a fantastic opportunity for others to view your masterpiece online.
It's a good job the exhibition doesn't finish until 28 February 2015; with so much delectable artwork to appreciate, I guarantee you'll need more than one visit.
In our latest ‘Staff Picks,’ Gallery Volunteer and History of Art Student Jasmin Vincent reveals her favourite work of art from the University’s Art Collection.
Memories of Home
Mark Senior, Runswick Bay, Oil on Canvas, c.1924
As a research scholar at the University's History of Art Department, as well as a temporary intern at a local business, my summer months this year were spent here in Leeds and not at home. Naturally I ended up feeling quite homesick, exacerbated by only having one real opportunity to see my family over the break - on a week-long traditional family holiday in Cornwall. It is the memory of this holiday that springs to mind now when I look at Mark Senior's beautiful landscape painting of Yorkshire's Runswick Bay; stirring fond memories of a similar beach that I have visited, nearly every summer growing up, whilst holidaying in Cornwall.
Mark Senior, Runswick Bay, oil on canvas, c.1924, Image (c) The University of Leeds Art Collection
The beauty of this painting is that it really does capture, perfectly, that typical British beach scene. Though distinctive, with its dramatic Yorkshire moorland coast, for me, it in fact evokes a childhood memory of many a family trip to the beaches of Cornwall. It is recognisable and familiar and is easy to look at. Put simply, it feels homely.
Senior's style is modest and draws on the idea of natural realism and the tradition of plein air painting. The simplicity of this approach towards his subject matter is what makes it captivating, what makes it feel as if one is looking directly into a memory. Instead of focusing on detail, there is a vitality of colour and texture that add to the whole, heightening the senses as if trying literally to capture the sights and smells of what lies before you. His fluid, painterly strokes are simple and non-distracting. And the use of bright colours evokes summertime, holiday happiness.
The composition of the work is simple and highly emotive too: the strongly coloured foreground figures capture the eye, before the viewer's gaze is drawn towards the diagonal line of the beach huts, and then beyond and out along the coastline. This manipulation of composition, texture and use of colour produces a scene that conceals much within a haze of green moorland, yellow sand, blue sea and the occasional blurred figure. Just like one's memory would capture, and later recall, colours, shapes and little aspects of detail to create a whole, more general picture.
It is because of how typically British this painting appears - right down to the neat row of the beach huts - that makes it so open to be interpreted as a memory of a beach in Britain, any beach in Britain. It is just that connectivity to happy memories that makes it so easy to look at. When I see it I am drawn back to the smell of the sea and the salt in the wind. Paintings like this that can stimulate my memory so powerfully, often allow me to escape into a happy memory, away from everything else. The fact that art can do that is why I enjoy studying it so much. It's a great talent to recreate a memory and the emotions with it. I am content and nostalgic when I see this painting, and it is for that reason I'm so glad to be able to see in within the University's collection when I am so far from my home and family. To have, in easy reach, a painting that makes visual, such a fond and personal memory and offers a place to retreat, stop and just remember home for a moment, amongst the bustling Uni life in Leeds, is truly special indeed.