Above the 'Cave'

 

My last post here talked about the Ikon basement on John Bright Street.  It included a photo of the Ikon 'team' plus the partner of visiting artist Pieter Laurens Mol.  Pretty much the whole Ikon team is featured, apart from Audrey Howkins, our long suffering secretarial support and - perhaps - Richard Stokes our Deputy Director (though I think he may have re-located to Nottingham's Midland Group by that time. They are left to right, Director Hugh Stoddart, David Stoker, Michelle Fuirer, myself, Pieter's partner and Paul Swales, Gallery Manager.  We were a team of six then...take a moment to look up how many Ikon staff there are today!  The photo above shows one of Pieter's installations - I think on our ground floor gallery.  This space, as large as the basement, was really light and airy.

This picture shows how effective it was for large scale paintings - these lovely early Mali Morris canvases make use of the skylights.  But the wall system, an ingenious marriage of Dexion shelving and huge chipboard panels (devised by Richard Stokes) allowed for re-organisation of the space in multiple ways.  Shown below to good effect during our Canada In Birmingham show where Irene Whittome created this minimalist installation, with plaster dust...

I've written before how, although I documented shows fairly rigorously I only took a handful of slides with me when I left - with many others I suspect being ditched when Ikon transferred to Brindley Place (In 1997).  I left in 1981 but Antonia Payne and her team went on to mount many more superb shows in the place.

But it was looking out some images by the painter Knighton Hosking recently that reminded me that I have at least a few reminders of the extraordinary space that Ikon occupied from the autumn of 1978 to 1981.

Knighton was a helluva painter and had a good career established by the time of his Ikon show (these contributions below to big survey exhibitions show the company he had been keeping) but was bedevilled by personal tragedy and his location (in Wolverhampton, i.e. away from London).  In another time and place he would have far greater recognition and acclaim

Earth, Sky, Water 6, 1974 213 x 274 cm acrylic on canvas

exhibited in British Painting' 74 at the Hayward Gallery.

3 Partial Views No. 2 96 x 72 in. acrylic in canvas

exhibited in British Painting 1952 - 1977 Royal Academy 1977

Knighton Hosking 1944 - 2019

Portrait by Walia (from Contemporary British Artists Photographs by Walia pub. 1979)

The Cave

No not Plato's...but the basement gallery of the Ikon Gallery in its past home on Birmingham's John Bright Street.

Hugh, David, Michelle, David, Ms. Mol, Paul 1981 

Ikon had opened its doors in November 1978 with three exhibitions!  Making the most of the cavernous premises (formerly a furniture warehouse) it utilised its light and airy ground floor for shows by the American artist Agnes Denes and local art school lecturer Harry Snook.  But the dark voluminous basement space housed the majority of works in an Arts Council Touring show Scale for Sculpture.

Harry Snook: Untitled Painted Wood Relief 1978 240 x 145 cms.

Sadly I never took, or lost the slides of this opening show other than this image of Nicholas Munro's

 Morris Men that unlike the rest of this show (including works by Carl Plackman and Garth Evans) sat in the Ikon windows.

I aim to write separately about the other shows that happened between 78 and 81 whilst I worked at the gallery but here I record my recollections of those basement shows - some of which are, to my mind, some of the most extraordinary of those times anywhere in the UK.  Beginning with The Depot, Kulchur Piece #4 by Jochen Gerz.  As Hugh Stoddart (Ikon Director 1978/81) says in his memoir for As Exciting As We Can Make It, Ikon in the 1980's) "I showed [him] here before others here had heard of him" and the undertaking of this enormous piece was a challenge for the gallery in a variety of ways.

In the first place correspondence was so much more difficult back in those times (especially when working across country boundaries) and Jochen was rightly very precise in his requirements. I was responsible for the text panel and without computers I had to go out to a design company to have it produced - it took several weeks and a handful of failures to get it right!  Paul our Gallery Manager had to source the whole tree that made up the central element arrange and organise the labour to get it into the space (we had a goods lift but most planks didn't fit).  And then there was the painting...it had to be clad in photographic opaque (this came in smallish bottles and likely is unknown to many under 50 or so as it was used to spot blemishes on negatives in analogue photography).  It hadn't occurred to me how much we would require and so my hunt for enough extended down to Coventry!

At some point in the show's run (April-May) a fashion company thought it might be a good backdrop but by the point of their arrival it had begun to pong a bit and grown some very interesting fungi.  Gerz is a fascinating and often controversial artist and his first UK appearance certainly marked out the way in which the huge basement could be used to experiment.  In July the French artist Bernard Bazile arrived from Paris armed only with a suitcase that contained 'Le Grand Serpent' an extremely long string of beads occasionally festooned with bits of sponges and other matter that - in an overnight stay - he arranged around the room.

As can be seen...the room is very large so it is almost impossible to show how the piece looked...but a detail reveals its nature.  The scale of the space and the lighting (brighter than several other artist had it) made it a little less successful to my mind than the others featured here.

The next occupant - Max Eastley - who followed on in August 79 created far more dramatic work (s) that utilised sound as much as vision.  Eastley was already known to me through his recording on Brian Eno's Obscure label New & Rediscovered Musical Instruments that he made with David Toop.  His trademark 'instruments' filled the space with odd scratchings and rustlings and both looked and sounded superb giving the environment an eerie and unsettling quality.

The beginning of 1980 saw an even more ambitious project in the space.  Ron Haselden had the idea of taking a simple folded paper cone and blowing it up in scale.  Really blowing it up that is; by creating a machine that would slowly spool out newsprint generously supplied by the Birmingham Post from the ends of reels used in production.

Me (left) Ron & Hugh discussing the issue

It didn't work of course the newsprint far too flimsy to do the job.  Eventually the solution, a heavier gsm cartridge (rather more costly!) doused with resin.  The result quite a few yards out into the space (over the several weeks) and some rather beautiful images.  Ron moved to France a long time back but remains a deeply fascinating artist that I had the pleasure of working with again a few years later on his sculpture for the Nottingham Concert Hall.

Over the summer I was given the opportunity to tour the Midlands Art Schools and make an exhibition to fill Ikon.  Amongst some very talented artists I was taken by an extraordinary installation (from I think Coventry?) by John Crowther that we relocated in Ikon's basement.  It was quite a substantial work comprising two elements a kind of auditorium with a slide show and another sculptural work alongside.

It was a phenomenal work by a young artist who I cannot find any information on at all at this distance. Whether I have his name misremembered or he simply didn't go on to make work goodness knows. Sadly there were several shows that as far as I'm aware either went unrecorded or the evidence is elsewhere.  That autumn for example saw Imagination Is the Venom Passing Slyly Through the Vein (Brian Catling, Stephen Cochrane with Lol Coxhill, Stephen Dilworth, David Duly, Tom Gilhespy, Richard Mackness, Jayne Parker, Ian Sinclair, Elaine Shemilt and Sue Wood) in the gallery with works such as Dilworth's King & Queen - two large glass sandwiches that gave off another powerful odour in the basement. In 1981 Gerald Newman's very discreet text & sound piece was February's occupant.  Newman, whose work was often included in early surveys of conceptual art, was noted for the spare visual components that used light and text.

But perhaps the most controversial show took place in March of that year.  It would have been fairly pointless to attempt photographs of Diamonds Are Forever by Chris Burden a single diamond (or was it) hanging in the middle of the blacked out room.  A curtain was erected just beyond the bottom of the staircase that led from the ground floor with a thick rope to lead the intrepid viewer on a merry dance around the lightless space meandering around until they bumped into a plinth.  The diamond hung from the ceiling at around average adult height and was pierced by a tiny shaft of light from a model railway headlight projecting from a small steel tube.  At least that was the idea though aligning the light to do its job was an ongoing nightmare for Gallery Manager Paul.  There are quite a few conflicting accounts of the 'performance' as his CV terms it but it was a prank of the first order!

A few weeks later the gallery mounted 'Canada In Birmingham' in which seven artists showed work from across that nation.  Perhaps the most extraordinary work was that of Irene Whittome on the ground floor but Ian Carr-Harris and David Craven took spaces in the basement to show sculpture and paintings, or installation/wall objects if you prefer.

My recollection is that Simon Read's The Chase might have been the last proper 'basement' show I recall as I left Ikon early in 1982.  Many important shows followed on from that time though how many utilised the basement as effectively or regularly I do not know - my new role kept me away from the place for quite some time.  

 

  

 

Snaps from the Open Studio

The last post here gave an introduction to The Open Studio at the University of Derby. It mentioned the importance of Photography as an artform within the School, something that has its origins in the 1950's and reached the pinnacle of its recognition in the 1970's under the guidance of Bill Gaskins and then Nigel Trow. Between them they brought into the teaching staff luminaries such as John Blakemore, Paul Hill, Richard Sadler, and Olivier Richon as well as a host of other major figures in the emerging Fine Art photography community. The course was almost unique in that for a number of years it was shared with the then Trent Polytechnic. The 'glory days' were somewhat behind us when we set up the Studio though I'd like to think we endeavoured to show that the medium was still celebrated even though it was now part of a broad based range of degree courses in Art & Design. But for a brief time we managed to assemble a quite stellar crew - John Blakemore, Sarah Jones, John Goto & Mark Durden amongst several other fine photographers. Alongside the 'big hitters' with long track records we had many other fine practitioners working in a variety of capacities and the work of Matt Jones, who ran our Mac Lab, is shown above.

Visitors featured in several of the exhibitions and one of them, Richard Mosse is now himself very much one of the big names in global Fine Art Photography. His Broken Spectre has received much praise in the past few years. At Derby he mounted an early solo show Nothing To Declare.

Part of the community were the PhD students, many of whom have had subsequent (or in some cases prior) success in their chosen field. One such was Antonia Bardis from Athens via the US and Goldsmiths College whose Manmade Environments ran from 19 Nov. 2008 to 30 Jan 2009 in The Corridor Space on the Markeaton Street campus - the main thoroughfare to the Library.

Although photography as a fine art practice had always been the primary focus at Derby we did try to expand the portfolio and David Bryson (work above) was one of the staff involved in this. We ran an interesting programme for some time that was devoted to still and moving image in the more scientific area, though sadly we couldn't attract enough students to maintain it. Nonetheless David was an important contributor to the wider ethos that resulted in a Commercial Photograpy degree running alongside the more art-inflected offering.

Post graduate students are an important component of any thriving academic research community, it is often the Masters students who are first to break 'new ground'. The image above is one such from Stephen Monger. Stephen was on his Masters course when he participated in a fortnight long residency in Cornwall selected from an open call for participants and organised by my colleague John France. His practice involved the painsstaking creation of a scene that he then photographed.

The Open Studio

I spent some fifteen or so years working at the University of Derby. I joined it a few years after it pulled off the remarkable feat of going from a College to a University sparking the gap as it were of Polytechnic status. Just over twelve months after I arrived (ostensibly as a short term contract of three months)I became the 'Acting' Dean of the (then) School of Art & Design. Six months later I was given the job for real. The first two years were tough but luckily I was aided and abetted by a really good bunch and we revalidated every course, survived three inspections and 'steadied' a badly listing ship. For a few years we were able to re-establish something that approximated a 'proper' Art School...no mean feat in a University. Of course there came a reorganisation in which we became a Faculty, with the Engineering School tacked on to us along with the Humanities courses (it might have been more ridiculous - the first plan was to amalgamate Art & Design with Health, that their Dean wittily suggested was because "they made the drugs and we took 'em").

One of the things that was a lot of fun though was The Open Studio - that we set up as a result of the research funding we were given after the 2001 RAE (Research Assessment Exercise. It enabled the School to support a number of exhibitions, inviting in artists from outside and enriching the student experience. The establishment of the Studio was accompanied by work by Peter Finnemore.

Over the years many artists mounted shows of their work. Inevitably given the School's long time excellence in Photography quite a few were included, some Masters and PhD students, others with no previous connections to the place. But the painters amongst us managed to include some shows too...

Above a canvas by Thomas Hylander, a recent Royal College graduate, below a painting on board by Sarah R Key, a previous graduate from Derby with a body of work that constituted part of her PhD submission at Loughborough University.

Collecting Art

I'm not overly fond of seeing my own artwork about the house.  I know others do it but I've always rather liked purchasing or better still exchanging work with other artists.  It started back at school but sadly several pieces I acquired from older pupils at Heles School have never made it onto the walls of my homes - primarily because they weren't framed.

This one uses a technique of transferring newsprint images to paper, a rather popular idea amongst the sixth formers who had picked up on the work of Robert Rauschenberg through devouring the copies of ArtForum our enlightened art teacher Peter Thursby had let us have access to his personal copies of.  This is the work of Christopher Madge, but as with the others I've tried to locate their later lives on the Web but to no avail.

Another I have is by an older pupil, Ric Conn, who seemed to me immensely suave and sophisticated and who I rather wanted to model myself on.  Not least because he was willing to experiment with proper abstraction. But perhaps the most accomplished piece I acquired came from a student called Denys Avis.

It struck me then, and still does, as a really good piece of design and a very sophisticated technical print.

Of more recent times...

Nowadays I'm not as busy as I was.  In fact more often than not I'm hardly pushed at all!  When we can, other obligations., funding etc., we try to get away.  Over the past few years we've been fortunate to obtain residency opportunities in both Cornwall and Shetland that have enabled us to spend time in these wonderful locations for artists whose work still depends on stimuli from such experiences.  Here I'm using the phone camera to capture something of the Cornish coast in a very benign winter evening.  The Cornish trip was especially good.  It took place right on the tip of Cape Cornwall, for most of history believed to be the most westerly point of the county, only to be superseded by Lands End when 'proper' measurement came along.  But Lands End has been privatised, with all the consequent degradation we might expect.  The Cape, saved for the nation through the good works of Heinz (our beans and soups contributing), is only a few miles north but a world away from the commercialised nightmare of the 'End'.

It's a great place to sit and think but also to make work, like the painting above, that I've titled Priests Cove.  As so often with my paintings anyone looking for a representational view will be disappointed  but I like to think that I capture something of the spirit of the place.

  

Skule's Out

In the spirit of de-cluttering my life (and making it easier to sort out at its end!) I'm junking a lot of stuff.  Amongst my papers are a clutch of essays written on the PGCE (Post Graduate Certificate of Education) course I took in 1975/6.  In amongst the scribble nestled this photograph of a display I made on my teaching placement at Frank F. Harrison school on the Beechdale estate in Walsall.  Looking back over the essays (and the feedback) it seems I was a deal more authoritarian back then, certainly more opinionated and rather less competent and talented than I suspect I imagined!

My tutor on the course, the wonderful Arthur Hughes, showed great forbearance as well as warmth to me, despite my appalling attendance record (I blagged off many lectures etc., relying on my wife Sue's notes, to go to my studio overlooking the Gas St. Basin).  Perhaps as a consequence I bumped along getting mainly 'b''s for my essays.  Reviewing them the assessments are very generous.

Just for fun I attach the blurb for the course...