Outcomes - Seminar 1
AMBIGUOUS SPACES 2 SEMINAR PAPER DEC 2005:
IDENTITY………….. DIFFERENCE………..A
PROBLEM?
A conversation between Audrey Walker and Helen Weston who are exhibiting
members of the 62 Group of Textile Artists.
Preface
In the early 1960’s several young lecturers and recent embroidery
graduates were acutely aware of the severe difficulties they faced in
trying to secure good exhibition venues for their work, which was challenging
pre-conceptions of this largely neglected art form.
In 1962 they setup the ’62 Group of Embroiderers’ and with
the support of the Embroiderers’ Guild they toured small exhibitions
to Libraries and Municipal Art Galleries throughout the UK, and to overseas
branches of the Embroiderers’ Guild. Through exhibiting, teaching
and publishing, word began to spread and the group was soon able to mount
exhibitions at the Royal Festival Hall (1967), the V&A Museum (1969)
and the National Museum of Wales (1971).
In the 1970’s the group responded to the break down of barriers
between the various textile disciplines, re-named itself the ’62
Group of Textile Artists’ and, to this day, includes members working
in hugely varied ways – from single textile traditions to mixed
media, video and work which references textiles without necessarily using
textile materials. Professional commitment and high standards are maintained
by rigorous selection procedures for membership and for every exhibition.
Currently, there are 58 exhibiting members.
Exhibitions are mounted annually and have recently included those at
Bankfield Museum, The V&A Museum, Sheffield Millennium Galleries,
and in 2005 at Cambridge University Zoology Museum. The 2006 Exhibition
will be at Hove Museum and Art Gallery. Catalogues usually accompany
every exhibition.
Over the past forty years 62 Group exhibitions have regularly broken
attendance records at many venues. The archives of the group are held
at the Constance Howard Resource and Research Centre, Goldsmiths College.
Audrey has been a member of the group since 1964, Helen since 2004.
A. It seems strange to be addressing very similar questions to those
being posed in the 1960’s! I am certain that we have come a long
way since then but, if there are persistent problems, we should be asking
some fundamental questions at this seminar.
H. I think there is less of a problem now than there was when the group
was first started. Perhaps it is just the fact that here are many more
graduates coming out of colleges, all competing for the same spaces and
audience, but to counter that, there are more ways of approaching showing
work. There has been a large increase in artist run spaces where artists
can organize their own shows, plus a move to working in collaboration
with other bodies where grants can be applied for, plus membership of
groups like the 62 Group with the reputation of that group behind you.
A key reason why I wanted to be part of the group was the opportunity
to show in more visible spaces. There are solutions if you have the drive
to find them.
A. I wonder if there is concrete evidence that Textiles are significantly
different from other disciplines in terms of exhibition opportunities.
We may feel that this is so but it would be useful to have some objective
research done. We should be careful not to be defensive, even aggrieved.
H. It is this defensive attitude which may have a negative influence
on students who then graduate with a feeling that there is a problem,
and that textiles compared with fine art has to continually make apologies
for itself and accept a lower status – this of course is fundamentally
wrong.
A. There is one obvious piece of evidence – the noticeable dearth
of Textiles at COLLECT at the V&A (commented on each year in CRAFTS).
I understand that there will be even fewer Textiles at COLLECT 2006!
Of course this is an event for International commercial Galleries and ‘fashion’ cycles
have an effect, for example glass seems to be dominant at the moment.
H. A lot of artists reject this commercial gallery circus – they
make a choice to show in other kinds of spaces.
A. And certainly the 62 Group shows are almost entirely in publicly
funded galleries and museums. Again it could be useful to have an analysis
of exhibition programming in these public venues. Are the Crafts as a
whole and Textiles in particular, under represented? I suspect both are
but I don’t actually know.
H. This touches upon the hierarchy between Crafts and Fine Art! How
textiles are perceived with its historical nature raises questions surrounding ‘crafting’.
Words like skill/craftsmanship are perceived as derogatory, and the work
is seen to be of a less serious nature than that produced within the
fine art sphere. But, you cannot have eloquence in a piece of work unless
you have a ‘materiality’, indeed the increase in the use
of new mediums can be referenced here such as video/sound installations,
performance. There is a growing ‘craftsmanship of technology’ within
the visual arts, and there has always been a materiality within the painting
tradition so why is it seen as an Achilles heel for those aligned within
textiles? It is regularly observed how many ‘fine artists’ are
using textile related techniques and materials and are being shown in
high profile galleries. The Visual Arts have exploded in recent years,
categories are melting and practices cannot be categorised so readily.
A. We should touch on the matter of categories – IDENTITY, DIFFERENCE
and whether there is a problem?
By emphasizing the medium (be it water colours, video, ceramics, textiles)
we categories ourselves and establish our identity. The question is does
this box us in and invite pre-conceived notions of what the label means? ‘Embroidery’ or ‘Knitting’ are
very vulnerable in this respect – hence the more general term of ‘Textiles’.
H. Has that general term become a problem?! Of course I don’t
want to give the impression that we shouldn’t use the term ‘Textile’!
I think I have ambivalence towards the term/category if it is one, as
I have a protectiveness towards ‘textile’ and its connotations
positive and negative. The term for my own practice is essential to the
way I approach my work and it is that ‘essence’ that I feel
so passionately about, at times I can see that this passion puts me at
odds with some critical debate! This leads me to go back to asking what
would seem to be an obvious question – or is it.
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What is Textiles? What does it mean? What is ‘the essential’ within
textile practice and is it a question that is even relevant for the context
of this symposium?
A. A few years ago that would have seemed an absurd question. Of course
we knew what textiles were! Now it is a much more open question as barriers
between disciplines are broken down and we have enormous freedoms to
choose the form and the material we use.
H. I’m still trying to explore this through my practice what it
actually means for me and I think many wrestle with this, continually
questioning keeps freshness to the debates around textiles. My instinctive
response to this question comes back to ‘essence’.
The essence for me is the materiality, the enthusiasm and connection
that I feel with the construction and manipulation of materials, and
the belief that both ‘form’ and ‘content’ have
equality, neither can be given over to the other, “As a multi-various
form of practice Textiles enables an adventurous and specifically dynamic
approach to material manipulation”……..
A. If I try to understand why I am glad to be described as a textile
Artist the material and the way I connect with it is fundamental. Whenever
I pick up a needle and thread I have a nervous excitement as the form
merges. But there is an equally important aspect, the incredibly rich
and diverse history we are rooted in, an alternative tradition where
textiles are embedded in the social construct across time and ethnicity
right up to the present day. If I were to give up the name ‘Textile’ I
would feel bereft.
H. We’ve both spoken of the material and the form but where does
the emphasis lie between content and form within Textile practice? The
answer for me is in the ‘interrelatedness’ of both, I can’t
negotiate the content until I am ‘locked’ into the form of
the piece.
A. Content and form must go hand in hand – we must always think
about the proposition of anything we make – the very reason why
the work exists. That is not to say that it should be accompanied by
wordy statements (surely we have grown out that particular phase) but
by asking the questions we can discover a common cause with others in
the open-ended situation we find ourselves in.
What are the directions we can take now?
H. The group appears to be in another dynamic stage of development where
very similar debates as those raised in this symposium are being discussed
by members. There are a lot of questions being asked followed by a diversity
of views, but no definitive answers have been concluded, are there any?
I think the ways in which we explore these issues are the answers. The
tension caused by the diversity of views within one group is what makes
the group surprisingly interesting. It is this tension within, as well
as the types of shows and possible collaborations externally with scientists,
architects, designers, that members take part in, that will also raise
these questions and aid the group to negotiate shifting territories.
A. We find ourselves in a dynamic situation and we have huge strengths
in current practice as evidenced by the exhibitions we are seeing, and
the graduates emerging from the colleges.
H. and A. With this in mind it is pertinent to ask questions of galleries,
museums and funding bodies – what is your perception of current
Textile practice and how do you see the way forward?
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Notes for Paper given by June Hill at ‘Signpost to a New Space’ Harrogate,
24th November 2006
The Task:
The contribution that Museums can make to contemporary culture. How to
make collections more accessible and develop in a contemporary sense
The context:
Museums and contemporary culture: museums can best contribute
by
being museums : focusing on their collections and material culture
: the core of their being and the basis for their relevance. It’s
what it says on the tin. And we don’t need to apologise for that.
There is an inherent power and intrinsic worth to collections and objects.
They have the potential to engage with people at a deep and profound
level.
And that’s not something to be taken lightly.
Museums need to be part of contemporary culture – they need to
reflect and engage with the contemporary within their collections, exhibitions
and education work. Museums are not about the past. They are about the
past, the present and the future.
Paul Celan: “For a poem is not timeless. Certainly it lays claim
to infinity, it seeks to reach through time - through it, not above
and beyond it’.
(Of a particular moment, with resonances, that may have lasting significance).
So with museums. Museums care for items “in perpetuity’,
seek to collect and contextualise particular items: objects that are
very much part of their time but will have significance beyond that.
Museums: work with the past and the present concurrently, now and take
significant elements of both into the future.
Gives layers of meaning and understanding….
This means there is an imperative for museums to record and engage with
the contemporary, because
a) it needs to be represented
b) it’s the basis of current and future collections.
And, as with any collecting, the selection/what you acquire - has to
come from an understanding and appreciation of what is significant in
terms of the subject and the collections. It has to be based on some
form of informed engagement.
From being part of contemporary culture.
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MA Report: “Collections for the Future”
“Museum and gallery collections transform and inspire people.
Collections can be exotic, intriguing, affirming, pleasurable and challenging.
They stir emotions, inspire connections and stimulate ideas...
Museums must reassert the place of their collections at the heart of
the public realm, ..they have an ethical responsibility to serve a wider
public: it is part of what it means to be a public museum. “
(We speak of museums/collections and role in cultural identity but museums
need to be clear of their own identity and be confident in that to be
able reach outwards to others)
How do you it? How do you make collections more accessible and develop
in a contemporary sense? (No one answer - will vary given differences
of each museum - in terms of resources/collections but believe..)
by engaging with people in and through the collections/material culture
and
by building relationships between objects/collections, ideas, people,
groups and organisations (over time: if museums are dealing with perpetuity
then in it for the long haul – time to build complex and deep relationships).
Both of these – engaging with people and building relationships
are -
part inward looking - core functions - building collections; documenting
and contextualising : creating knowledge/understanding
part outward - where the collections meet the public: public spaces -
displays, access initiatives
The curator/museum professional has an important role in this:
MA Report speaks of them as ”brokers/catalysts”, and talks
of the need to “be more open about the role of museum professionals
as mediators” ; enabling things to happen and creating opportunities
through involving others in this process. (Building relationships)
A two way processes – not an imposed agenda from a museum perspective
but actively involving users/partners in the process.
•
Clear about your own role as a museum but open to involving others in
the process.
There are huge benefits of mutual engagement to both the museum and the
public user (gaining knowledge/relevance; increases potential, adds strength).
In terms of today’s remit (making collections more accessible
and developing in a contemporary sense) It means:
looking inwards
- the core functions - need to:
- collect examples of best practice, including contemporary,
appropriate to the existing collections (intelligent additions/dynamic
collections);
- also encouraging/ the making and commissioning of new work, enabling
it to happen; documenting that - recording the process, sample materials/archive
info);
-
study/research - opening up the reserve collections – grasping
opportunities and learning from the user/partners (enquirers/researchers
highly knowledgeable as individuals and groups: ‘shared expertise’ -
you gain more than you give.
looking outward - where the collections meet the public –
- displays (what and how in ‘a visual age’ –role
of object and interpretation, relationship between objects/collections.
Desire to give fresh understanding/appreciation of whatever is displayed
- historic and contemporary
- exhibitions – potential for including related non-collection
based - adds breadth/depth and often a contemporary response to/understanding
of the collections). Gives a presence to contemporary work.
- education/interpretation – ways to broaden knowledge and understanding – digital
and internet developments offer huge potential for this but, in my heart
of hearts, I would always be advocating the role also of people based
initiatives – exploring collections and related material through
workshops/talks/residencies . Important in this to involve informed sources
in different forms – researchers/passions/ contemporary practitioners
- helps inform and educate the public and it also helps inform and educate
the museum and its staff. Builds relationships between all involved – public,
practitioner and museum.
Accessibility : the intangibles:
- The importance of making people feel at ease, of being inclusive,
developing a supportive, non threatening environment and building trust – in
terms of exhibits/knowledge presented and dealings with people.
-
Increasing access can be attitudinal: an approach or state of mind for
the museum. If you want to do it: there are always ways – the
challenge is developing the best /most appropriate forms for your museum/collection
to fulfil potential within the restraints.
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Brings us to specific case studies/instances of bodies of work at Bankfield
Case Study 1: The Durham Collection:
The relevance of collections and contemporary collecting
Context of Durham Collection – the most important collection at
Bankfield. Collected by Edith Durham during her travels in the Balkans
1900-14. Originally travelled there for pleasure but developed a great
affinity with the people and as she continued to travel in the area,
she became actively involved in the life and politics of the area. Time
of considerable conflict , and she wanted to understand how this arose,
the issues that affected people. Did so by documenting life, writing
a series of books about the area and collecting costume and textiles,
much of it was contemporary at that time (and being lost in cultural
changes). Some items are linked to particular events in Balkan history.
Each comes with detailed documentation. It is the very particularity
of the collection and context in which it was acquired that gives it
significance, along with the fact that they’re great pieces. Also,
illustrates the particular significance that textiles can have.
Motifs, stitches, costume specific to particular groups/areas/religions
- Bosnian/Serb/Albanian/Christian/ Muslim
And embodies particular cultural traditions and beliefs.
Gallery: Contemporary significance –
Merited a gallery due to significance of collection but developments
in1990’s gave it added significance.
Break up of Yugoslavia, similar issues to time of collection - reflected
in gallery and its interpretation (use by reporters of ‘High Albania’ by
MED as means for gaining understanding of conflicts)
Ethnic cleansing of museums/collections increased significance
Relevance within local area and Links
Dukes (local regiment)- involved in the area as UN peace keepers
Refugee community in Calderdale from Kosova as conflict continued
Bradford University Dept of Slav Studies in contemporary understanding
and collecting of ethnographic material (water barrel/sworn virgin outfit
)
Contemporary works relating to the collection
Commissioning: a considered way to add to the collections
Gallery commission by Catherine Riley – part of a work pattern
for us inviolving the commissioning of new work integral to new gallery
developments (artist spent time with collection, influence of giubba,
wanted to reflect cultural disintegration and cycle of violence, disintegration
of textiles. The tradition of the blood feud became important in this
- as recorded in ‘Broken April’ by Ismail Kadare)
“Outside in the yard a shirt hung on the wire clothes line. “Your
brothers shirt” he said, almost in a whisper. “Mehill’s
shirt.”
Gjorg could not take his eyes from it. It fluttered white in the wind,
waving, billowing joyously.
A year and a half after the day his brother had
been killed, his Mother had finally washed the shirt he had worn that
day. For a year and a half
it had hung blood-soaked from the upper storey of the house, as the Kanun
required, until the blood had been avenged. When bloodstains began to
yellow, people said it was a sure sign that the dead man was in torment,
yearning for revenge. The shirt an infallible barometer, indicated the
time for vengeance. By means of the shirt the dead man sent his signals
from the depths of the earth where he lay.”
Extract from ‘Broken April’ a
novel by Ismail kadare 1990
‘The import of the above extracts served to initiate the visual
response to your right. Every day, somewhere in the world, shirts hang;
but I doubt that the blood will ever dry’.
Catherine Riley 1996
Second commission - Provenance MBW – explain context – exhibition
/education, extended period of work – commission comes from developed
understanding and permanent record of an exhibition and its related education
programme (transient) and an extended time working with the museum. Used
documentation related to the Durham Collection and textiles collection.
(MBW quote)
Provenance 2000
Provenance, as the title indicates, relates to the origin or source.
Within art historical terms the provenance of an art work documents its
exhibitions history and ownership. In 1999 I was commissioned by Bankfield
Museum to make a contemporary work based upon their extensive collection
of historical textiles. My original intention was to record selected
examples and create a new work that would illustrate the genealogy of
textile designs as they are traded and collected throughout the world.
Whilst researching the collection, I came across by chance, a small envelope
containing a collection of exquisite hand written and typed labels. Originally
attached to specific textiles, the labels made from old cut postcards
contained a wealth of technical and anecdotal information about the collection.
I decided immediately to base the entire commission upon the labels.
Beautiful though the original textiles were, the labels seemed so much
more evocative, revealing an aspect of museum history and life previously
unseen.
Edith Durham, who travelled through the Balkans, between 1900 and 1914,
wrote the labels. During several visits she collected and eventually
donated textiles to Bankfield Museum. I decided to make three semi-figurative
constructions for the empty alcove spaces on the main staircase. The
pieces contain substantial references to both textile history (the use
of wooden lace bobbins suspended on a pillow) and the continuing situation
within the former Yugoslavia, particularly in the use of labels to rationalise
oppression (Muslim/Christian). The disturbed agitated stance of the work
suggests devastation. Forms hang twisted in space. Fragments of history
are layered and obscured.
Collections are notoriously difficult to access, the philosophy at Bankfield
is one of accessibility. The opportunity to research primary historical
material has I believed influenced my own work. The figurative physicality
of ‘Provenance’ is unlike anything I have previously made.
The ideal commission is one that extends practice and generates new ideas’
Michael Brennand-Wood
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Case Study 2: Sue Lawty - Collections, Access and Exhibitions
(Exemplifies series of collections/exhibitions work and the links between
practitioners and museum collections in supporting and encouraging the
creative process).
Long standing relationship between artist and museum and natural links-
- lives locally in town with strong textile heritage
- respect for textiles and their making
- Seminal influence of two of the oldest pieces in the collection on her
work and development - continued influence for over 20 years (local
artist/wider audience)
- study visits by her students (one user will use the collections in different
guises - as a maker, carer, professional, researcher..)
-
empathy with collections - historic/cross cultural ‘part of a continuum
of time’, has collections herself
- commissioned her to buy items for the permanent collection during her
study tours to Bhutan
Reached a time after 20 years when it seemed just right to work together
on an exhibition and the development of a new body of work:
- obtained funding for project – lot of preparatory work
and thinking about what is right, appropriate and desirable for all
involved
- extended residency, time working closely with collections,
- stimulating ideas, experiments
- growing into a new body of work plus site specific commission (permanent
record of the exhibition and extended relationship - as with MBW and
Alice Kettle)
- Commission part of permanent documentation of project, also publication
- documenting process for the future (hence images)
-
Sharing process –education – gallery residency/talked about
work and its development ; ‘Weaving Lives’ community project – involving
others in linked project.
V&A – (project mooted as an experimental partnership link
between collections of two institutions – way to make things happen.
Changes and shifts in a different place)
- another space and extended time slot (year) –
-
potential to work on walls, share process in Gallery (question: ‘why
is this textile?’) And on weblog
-
work with another collection – Elizabeth Parker sampler/Morton
book of samples – 17 centuries of Egyptian weavings used by
the Morton Company as design inspiration in 19th century and now
by Sue Lawty
in development of work.
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