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NEWSLETTER OF THE FRIENDS OF THE WHITWORTH, UNIVERSITY OF MANCHESTER. ISSUE 44 . SPRING 2018.

WWW.FRIENDSOFTHEWHITWORTH .ORG.UK

The year aheadSee stimulating and varied work fromthe wallpaper collection, a film fromIsaac Julien, works from Alison Wildingin the always stunning Sculpture Courtand monumental textiles from Alice Kettle. Full story on page 2.

Talented FriendsScreenprinting with Sally Gilford andChinese brush painting with Katherine Hsuan.Full story on page 8.

Friends’

Dufour et Cie., Vues de L'Inde, (Paysage Indien), 1815Block-printed wallpaper

The Whitworth, The University of Manchester

6092_FOW Perspectives April 2018 v3.qxp_Layout 1 26/03/2018 11:00

Textile shows will explore the gallery’sdesign traditions, exhibiting cloth from the

Islamic World to Kettle’s stitch works - she hasbeen working with refugees, including displacedwomen artists telling their individual stories. ‘I cannot be an observer and textiles is my way to engage,to show and care in a meaningful way, in a mediumwhere I have a voice. I simply want to help and make adifference, maybe like all mothers do for their children.’

Isaac Julien’s Ten Thousand Waves has justopened. This compelling 3-screen film is thesecond in a series of major moving imageacquisitions by the Whitworth following SteveMcQueen’s Ashes.

Ten Thousand Waves is rooted in theMorecambe Bay tragedy of 2004 in which 23Chinese cockle-pickers drowned off the coast innorth west England. Shot in China, the filmfeatures leading Chinese artists and performersincluding the actress Maggie Cheung as Mazu,Chinese goddess of the sea. Combining scenesof remote Guangxi province, historic andcontemporary Shanghai and documentary ofthe Morecambe rescue mission, the filmmeditates on contemporary experiences ofdesire, loss and separation.

The film is co-acquired by the Whitworth andTowner Art Gallery, Eastbourne and is the firstacquisition made through the Art Fund’sMoving Image Fund for Museums.

From the wallpaper collection the exhibitionBodies Of Colour: Breaking with Patterns hassome old favourites emerge including Niki deSaint Phalle’s Nana and Tiger Hunting Scenefrom Vues de l’Inde from Dufour et Cie. Theexhibition explores the part that wallpaper hasplayed in the repetition of ethnic stereotypes. Itopens in May and runs until Spring 2019.

Four Corners of One Cloth this summerpresents textiles from the collection exploringthe importance of cloth across the IslamicWorld. The title refers to the ProphetMuhammed uniting four clans using a cloth. A sacred black stone was placed in the centre ofa cloth before being lifted at each corner by anElder from the ground and taken up to theKa’ba, a building at the centre of Islam’s mostsacred mosque Al-Masjid al-Haram, Mecca.

The exhibition will be centred around a sectionof Kiswa cloth, material that covers the Ka’baand is replaced each year during Haj. The clothwill be positioned in the direction of Mecca andvisible from the front of the Whitworth.Burnished indigo, silk embroidered robes, tenthangings and Dervish hats stitched with scriptwill surround the kiswa.

From September there’s a major touringexhibition Thick Time by South African artistWilliam Kentridge. It brings together 6 worksincluding two immersive audio-visualinstallations, The Refusal of Time (2012) and O Sentimental Machine (2015) to be shownalongside a display of large scale tapestries andartist books.

THE YEARAHEADthe Whitworth the place to be

PerspectiveFriends’

See stimulating and varied work from the wallpaper collection, a film from Isaac Julien, works from Alison Wilding in thealways stunning Sculpture Court and monumental textiles from Alice Kettle.

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Mazu Turning_2010Acquired with Art Fund support



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Red Chamber Dream


4Alice Kettle, Sea (detail), 2017. Thread on cotton, 800 x 300 cm. Photo: Joe Low.



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William Kentridge, in collaboration with Philip Miller, Catherine Meyburgh and Peter Gibson. The Refusal of Time, 2012

Film Still. 5-channel video projection, colour, sound, megaphones,breathing machines. 30 minutes

Courtesy William Kentridge, Marian Goodman Gallery, Goodman Gallery and Lia Rumma Gallery

Alison Wilding, Reversing, 2017. Screen print on paper

Towel embroidered with fire extinguisher motif, Turkey, 19th century, the Whitworth,

The University of Manchester


The philosophy behind these harked back tothe original intentions of the Collection

Centre - to enable swift and easy objectchangeovers without needing extensive inputfrom the Gallery’s technicians. In theory, objectsfrom all parts of the collections - fine art,textiles and wallpapers - can be taken directlyfrom the stores and installed by curatorial andcollection care colleagues using a range ofmodular fitments.

Each case comprises a metal backing ontowhich lighter weight items such as textiles orwallpapers can be attached using strongmagnets, whilst heavier works, such as framedpaintings can be hung from the roof of thecase. In addition, a slotted system supports arange of fitments from shelves to carry lighterframes, mounted works on paper or small 3-Dmaterial, to Perspex mounts to hang rolledwallpapers and textiles.

Recently, our Conservation & Collection CareTechnician, Emma Brown was trained in theuse of the new Perspex cutting machine, in theworkshop at the Manchester Museum, and hasdesigned and produced a range of Perspexfittings - take a close look at how we are

displaying works in these cases and you will seehow they are both beautifully crafted anddiscreet, allowing the Gallery’s collection to takecentre stage.

Each case can be readily accessed, yet providesMuseum grade security and a suitable displayenvironment. Our Preventive Conservator,Sarah Potter, has been monitoring thetemperature and relative humidity within thecases and we are delighted to observe goodstable conditions.

Although it took a while to realise this part ofthe project, the cases are meeting our originalcriteria and are a testament to the design andproblem solving abilities, and tenacity of theCollection Care team. We are grateful for thecontinuing support we have had from theFriends of the Whitworth in fundraising for theCollection Centre and for the commitment ofthe wonderful Collection Centre volunteers. We hope to add further cases in the future.

Nicola is Head of Collections Care and Access.

As you know the overriding purpose of theFriends is to raise money to support the Gallery.A recent decision is to fund three exhibitions,

which will run throughout the year.

The current one is Apna - a word used in manylanguages across South Asia meaning ours,yours everybody’s. Apna is also the name of aSouth Asian arts group based in Rossendale.They chose beautiful textiles from theWhitworth collection and are showing theirown creative work.

For this show volunteer Sue Dawson has deviseda quiz for the young visitors encouraging themto access the Whitworth database of images.

You’ll remember the Friends of the Whitworthhad a Friends’ choice show. Now it’s the turn ofthe volunteers throughout the Whitworth - fromthe Family Programme, Collections Centre,students and beyond. The display from May-September will showcase the range ofvolunteering.

The final exhibition later this year will be a first.It will be selected and curated by primary agedchildren. The children from Stanley GrovePrimary Academy, Longsight will visit thecollection stores and be shown highlights. We will then enjoy their choice.

Nicola Walkerthanks theFriends for bespokedisplay cases

After considerable research,involving staff visits tomuseums in London andSalisbury, and workingalongside several specialistexhibition case suppliers, theCollection Care team finallychose to collaborate withArmour Systems on the designand construction of twobespoke cases.

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Hanging of Lucienne Day fabrics in Collections Centre

Cases in Collections CentreLook Club with Nicola Walker and Thomas Hearne watercolours




The Collections Centre isalways a wonderfulopportunity to display workfrom the renowned Whitworthcollection. It may be tuckedaway in the basement, butseek it out for many gems.

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Alistair Hudson.Image courtesy of Middlesbrough Institute of Modern Art.

Esme Ward joined the Whitworth asEducation Officer - quite a new post 20

years ago. Since 2010 she has been Head ofLearning and Engagement at ManchesterMuseum and the Whitworth. This month shewill become Director of Manchester Museum -the first female Director in its 125 year history.

Many Friends were on Esme’s radar when she organised the team of tour guides. Theirintensive training programme and ‘behind the scenes’ visits with curators led to‘Eyeopener’ tours.

Esme takes over from Nick Merriman (recentlyinterim director at the Whitworth), who movesto London’s Horniman Museum and Gardensas Chief Executive.

New Director at Manchester Museum

The Whitworth is now in the hands ofAlistair Hudson as am sure you already

know and he showed his enthusiasm for the jobat a recent ‘Wednesday’ talk in the gallery.

He comes to us from Middlesbrough Institute ofModern Art, where he was Director. Mima isone of the UK’s leading galleries for modernand contemporary art and craft.

He has a strong record of championing art as atool for social change and education. During hislast three years as Director of mima he set outthe institution’s vision as a ‘Useful Museum’successfully engaging its local communities andresponding to the town’s industrial heritage.

He began his career at the Anthony d’OffayGallery, London (1994-2000) before joining The Government Art Collection (2000-2004)where as Projects Curator he devised a publicart strategy for the new Home Office building.

As Deputy Director of Grizedale Arts (2004-2014) in the Lake District he helped theinstitution gain critical acclaim for its radicalapproaches to working with artists andcommunities based on the idea that art shouldbe useful and not just an object ofcontemplation.

He is co-director of the Asociación De Arte Útilwith Tania Bruguera.

Alistair was a 2015 jury member for the Turner Prize.

‘The Manchester cultural scene is one of the mostdynamic and diverse in the country,’ says Alistair, ‘andManchester Art Gallery and the Whitworth are at theheart of this.’ Alistair as Maria Balshaw beforehim is also Director of Manchester Art Gallery.

‘I am dedicated to the idea of cultural institutions as aforce for promoting social change.’

He sees art not for art’s sake, but as a tool foreducation and for enhancing the world aroundus - making art useful.

He plans to look back at the history of theWhitworth. ‘You need to listen and understanda place before you act.’ He plans to look at therole of the curator - to let others in - to hearother voices.

‘The Whitworth does much work in a culturallydiverse area and needs to make that work more visible.’

Alistair’s reference to a second park is Platt Fields Park, Platt Hall.

NEWDIRECTOR

‘I’m super excited about having two galleries and two parks’

‘The Manchester culturalscene is one of the mostdynamic and diverse in the country’


Screenprinting with Sally Gilford and Chinesebrush painting with Katherine Hsuan.

Christopher Rose-Innes shares details of thescreenprinting event - ‘it began with a

demonstration of cutting the stencils, one for each colourand then printing onto pieces of white cloth by laying thestencils on a ‘silk’ screen and forcing coloured ink throughthe screen onto the cloth with a scraper. Into the Galleryfor inspiration for designs from screen printed textiles.

Then back to the studio to use the screens and inks tocreate individual designs. Most enjoyable.’

Christopher Rose-Innes is a retired Professor ofPhysics turned sculptor. For most of his adultlife he has practised art, mostly drawing andsculpture as a ‘serious’ hobby. At the age of 62he decided he would like to do it properly, soone Friday ceased being a professor of physicsand on Monday became a full-timeundergraduate art student.

His work can be seen at St Teresa’s Church,Wilmslow and on the former UMIST campus.

For examples of his work go to website of Royal Society of British Sculptors.

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Sonia Chapman and Denise Carter Eileen in Chinese characters

Christopher Rose-Innes at the workshop Christopher Rose-Innes.

Eileen Tunbridge with tutor Katherine Hsuan Chinese brushstroke workshop

Talented students!

TalentedFriendsflourish in twoworkshops



My role at the Whitworth is Head ofFinance and Commercial Services.

What this means is that I am responsible for allfinance aspects of the Whitworth and everycommercial activity that takes place within it -as you can imagine, that means that literallyeverything that happens at the Whitworth inone way or another passes under my eyes.

All of this might sound very boring! And ingeneral, finance is not the most glamorous ofroles in any business. I trained as a charteredaccountant and worked as an auditor for anumber of years in the private sector and quitefrankly, I found no joy at all in that job. Buthaving devoted so much time and energy tobecoming an accountant I was determined tofind a role that would use my skills but was alsointeresting, and dare I say it, fun.

And thank goodness I found the Whitworth!My role covers not just the Whitworth but alsoour partner institution, the ManchesterMuseum. And, given my interest in history (anddream of always wanting to be the character ofIndiana Jones), I jumped at the chance ofworking at a museum.

Initially, it was the museum that held my fancy.But as it turned out, it was the Whitworth thatbecame the reason that I stayed in Manchester.I moved to Manchester in 2013, to take up theposition, and it just so happens that this was theyear of MIF (Manchester International Festival)and in particular during the summer, NikhilChopra was at the Whitworth and being a partof that, from arriving at the Whitworth at 3o’clock in the morning, through to 48 hourslater watching him emerge physicallytransformed on the steps of the gallery, was oneof the most immersive and hypnoticexperiences I’ve witnessed. I was hooked.

In addition, on a personal level, I love hearingthe curators at the Whitworth talk about art. Ithink some art can be quite difficult tounderstand, but the curatorial team at theWhitworth are all incredible and veryknowledgeable: whether the now retired andgreatly missed David Morris explaining theimportance of a piece of work, or the amazingSam Lackey who despite being incredibly busyis always happy to stop and help with a boringfinance query!

ON THE MONEY


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Coal on Cotton with performance artist Nikhil Chopra

David Bryan before Coronation Park (2015) by Raqs Media Collective in Whitworth Park

David Bryan with a personal view of work in an environment he loves.


The long trailed tour to the MedievalChurches of Norfolk is finally happening

and the first flyer is in this current mailing. Wecould spend 5 days just looking at medievalchurches, but that would not suit everybody soof course there will be many other visits to givevariety.

Our new overseas tour leader Mike Tierney isbrimming with ideas and very keen to make astart with his first trip to the Cote d’Azur in2019 and after that who knows where he willlead us!

The new curatorial staff at the Whitworth areenthusiastic and willing to share theirknowledge with the ‘Friends.’

Two new exhibitions opening later this year willfeature South African artist William Kentridgeand textile artist Alice Kettle. Many otherexhibitions are mentioned in this Perspective.

We will continue to fund artists to come andteach our members new artistic skills and we are planning workshops around theConnoisseurship of Art with staff from theUniversity of Manchester History of ArtDepartment, using the Whitworth collection.

The Pilkington speaker this year is Dr BendorGrosvenor and in 2019 as the lecture will be the50th we are planning to make this a memorableevent and hope many members will attend aswe try to continue the tradition of the keypeople in the artistic world making the journeyto Manchester.

Planning has already begun as to what wemight do to celebrate the 2019 AGM for theoccasion of ‘Friends Take over the Gallery’ fora special Thursday Late.

REALLY LOOKINGFORWARDJoan Gem programme organiser is forward planning in style.Here she tells us more just before going on the ‘Friends’ 5 dayLondon visit.

The Conservation studio is up and runningat the Whitworth after being relocated

during the redevelopment. What used to be thephotographic dark room and adjacent staff tearoom have been opened up and combined tocreate an open planned studio. This has allowedthe studio to be on the same floor as thecollection storage areas.

A flexible designed layout has allowed the teamto create individual work stations which can becombined to allow large and small artworks tobe treated in the same area.

New equipment including movable pantographlighting systems and extraction units have beenadded to our existing equipment, including thesuction table (purchased by the Friends) to helpin the treatment of the varied collections.

At present I am preparing three art works onpaper for future exhibitions, Exchanges, Bodiesof Colour and an historic print exhibitionincluding work from the Whitworth’s Hogarthand Goya collections.

Objects including ‘A Harlot’s Progress,’ a suiteof 6 prints by William Hogarth, SimonPatterson’s ‘The Great Bear’ and a MickeyMouse wallpaper fragment by ArthurSanderson and Sons are currently beingtreated. Prior to treatment I have to undertake asystematic testing procedure to ensure that

any of the treatments I propose will notdamage/alter the appearance or composition of the artwork.

Treatments to the Hogarth and Patterson printsinclude mechanical dry cleaning using chemicalsponge to reduce surface soiling and aqueouswashing techniques to remove staining whichwas present from cellular degradation and pastwater damage. After cleaning the prints werehumidified and pressed prior to being placed innew acid free mounts ready to be framed.

The Mickey Mouse wallpaper fragment had alarge amount of damage due to the methodused to remove it from a wall prior to enteringthe collection. The fragment is now in thestudio and in need of a comprehensiveinterventive conservation strategy. This willbegin with cleaning procedures and then tearrepairs will be performed using featheredJapanese paper and wheat starch paste, once therepairs are finished the fragment will be linedand infilled again using a handmade Japanesepaper. Finally the paper will be attached to amount board ready for exhibition.

Interventive conservation is undertaken to makedamaged works of art accessible for exhibitionand to improve their general condition to helppreserve them for future audiences.

New space for theconservation team. Daniel Hogger, conservator of works on paper takes us‘behind the scenes.’

This is a contemporary interpretation of a1930s agit-prop play protesting against theimprisonment of workers and activistsunder the Meerut conspiracy case in India.

The manuscript is held in the WorkingClass Movement Library in Salford.

It was part of the Raqs Media Collectiveexhibition at the Whitworth. Actor MaxinePeake and gallery staff gave the firstreading last year - the pictured team alsoimpressed Friends at the recent AGM witha repeat performance.

A team of Friends stood in solidarity in January cold to give a reading of Meerut Redux.

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From l to r Juliet Jones, Jane Cabot, Richard Sails, Tricia Tierney, Sonia Chapman.

Daniel Hogger conserving a work by Hogarth

Mickey Mouse wallpaper fragment by Arthur Sanderson and Sons




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‘Friends’ were in the audience for the north westregional heats where students gave a 10 minutepresentation about their chosen artwork,artefact or architecture.

Subjects included Nicholas Poussin, Abductionof the Sabine Women, 1633-34, Cueva de LosManos (The Cave of Hands), c. 11000BC, Rob Wilson, Between Two Giants, Jean Michel Basquiat, Riding with Death, 1988 and The Eden Project.

Denise Bowler is the enthusiastic organiser atthe Whitworth. ARTiculation was established11 years ago and conceived as a tribute to theart historian Kenneth Clark (an early Pilkington speaker).

Dr Thomas Marks, Editor, Apollo Magazinewas the adjudicator - It is a brilliant, upliftinginitiative which understands how speaking, can,and should be a way of thinking about art andabout how important it is to introduce youngpeople to its public contexts and professionalopportunities.

Even if ARTiculation participants do not go onto study or work in the arts, the experience ofdiscussing art with their peers will have been avaluable one.

Denise, Secondary and FE Co-ordinatorexplains, ‘I am funded through the University ofManchester’s Widening Participation. This encouragesstudents from specific schools to participate in activitiesdesigned to raise their aspirations, increase motivation tostudy and raise awareness of career paths includinghigher education.

ARTiculation is one way in which young people can gainthe confidence and experience of speaking to an audience.It can help them to make new connections in the artsworld, meet new people and develop excellentcommunication skills. I am now looking forward toARTiculation next year at the Whitworth and workingwith the University of Manchester’s Art HistoryDepartment.’

PERFECT VENUE for ARTiculation

The Whitworth hosted a public speaking competition forstudents aged 16-19 organised by the Roche Court EducationalTrust - their aim is to encourage students to learn to look andspeak about art……very Whitworth!

ARTiculation 2018 Prize North West Regional Finalists with the adjudicator Dr Thomas Marks, Editor of Apollo Magazine at the Whitworth. Courtesy of the Roche Court Educational Trust

Emily Barker who chose a work in the Whitworth for her presentation - Risham Syed’s,

Kaal Pakhan (Black Birding)


Perspective


Why not take this once in a lifetime opportunityto really make a difference to the Whitworth?All donations, large or small are welcome -please send cheques payable to the Friends ofthe Whitworth at the following address:

Chairman, Friends of the Whitworth, The Whitworth, University of Manchester, Oxford Road, Manchester, M15 6ER.

Editor: Gill Crook. If you have any ideas for Friends’ Perspective I would be pleased to hear from you. Contact me at [email protected]

For contact and membership information,please visit: www.friendsofthewhitworth.org.uk

Designed and produced for the Friends of the Whitworthby Pure Design Studios (01625 433664).

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