Tag: Barbara Hepworth

YORK Art Gallery had to curtail the Miller’s tale of Pop Art book covers in its ground-floor galleries when Covid-19 brought a sorry end to son of York Harland Miller’s homecoming show.

Those galleries have opened once more, however, Miller’s York, So Good They Named It Once making way for a celebration, or two celebrations, of the YAG collections from August 20.

Senior curator Dr Beatrice Bertram has chosen the works for Views of York & Yorkshire, ranging from L S Lowry’s Clifford’s Tower to a dozen newly conserved works, courtesy of the Friends of York Art Gallery, never seen on public display previously.

As the second exhibition title Your Art Gallery: Paintings Chosen By You would suggest, you have indeed made the choices from “some of York Art Gallery’s most well-known paintings” for the walls and floor of the two side Madsen galleries .

More precisely, more than 400 people took part in an online poll, when choosing ten works from 20, Parmigianino’s Portrait Of A Man Reading A Book(c.1530), Richard Jack’s Return To The Front, Victoria Railway Station(1916) and Barbara Hepworth’s drawing Surgeon Waiting (1948) among them.

William Etty, the 18^th century York artist whose statue greets visitors in Exhibition Square, inevitably features too. “We always have to show Etty! We have the largest repository of his works in the world,” says Beatrice.

Other favourites were selected through a week of five head-to-head clashes on Twitter and by a Friends of York Art Gallery online poll.

To qualify for selection, the works must have been in storage, returned from a loan elsewhere or not been shown for a number of years; none of them being on display when the gallery was closed for the lockdown.

The poll and Twitter choices are complemented by artworks with chronological or thematic links, alongside new YAG acquisitions by John Atkinson Grimshaw (Liverpool Docks At Night) and Scarborough artist Jade Montserrat, plus some of the gallery’s Twitter #CuratorBattle contenders in lockdown, most notably Grayson Perry’s ceramic, Melanie. 

Explaining the philosophy behind the linking exhibitions, Beatrice says: “These exhibitions were a perfect chance to engage with our audience, as having to close the gallery from March to August was so frustrating when we so want to connect with our visitors.

“To celebrate the reopening of York Art Gallery, we wanted to showcase our rich collection by bringing artworks out of store. These two new exhibitions do just that.

“We hope visitors enjoy viewing the beautiful topographical landscapes of Yorkshire and admiring the paintings which they voted for display in Your Art Gallery: Paintings Chosen by You.

“Thank you so much to everyone who got involved, and for telling us why the works you chose resonated with you by writing labels. We’ve loved reading your submissions – variously heartfelt, humorous, perceptive and poignant – and it’s made the curation of the show a wonderful experience. We hope visitors will enjoy these personal accounts as much as we did.” 

Involving the public in curating a show was “innovative, fun and hugely enjoyable, both for those who took part and for us,” says Beatrice. “It’s been incredibly rewarding and revealing to read people’s comments on their choices, expressing their feelings, how a particular work resonated with them, how they connected with them.

“It was noticeable how they were drawn to works depicting nature, or depicting gatherings or live performances, such as L S Lowry’s The Bandstand, Peel Park, Salford, because of wanting to experience the buzz of a performance again.

“They were looking to works from wartime too, connecting with another time of terrifying, unprecedented change, and the surgeon’s mask in Barbara Hepworth’s Surgeon Waiting struck a chord because of Coronavirus.”

Summing up her reaction to the selections, Beatrice says: “While there were some I expected them to choose, there were surprises too. All the women artists went through from the choices, which I was particularly pleased to see.”

Aside from the public choices, Beatrice is keen to highlight the York Art Gallery acquisitions on show, such as a series of works by Jade Montserrat (born 1987) acquired through the Contemporary Art Society in 2020.

“We’re always looking at our collections policy, always seeking to achieve a more diverse representation, though that doesn’t preclude the Grimshaw acquisition, because we’re also always looking out for great works too.

“Jade Montserrat is a contemporary artist, whose work is inspired by growing up in Scarborough. She’s brave, bold and fearless and we’re excited that she’s represented in our collection.”

Look out too for a work with a new attribution: St John The Baptist, now accredited to the 17^th century Flemish artist Hendrik de Somer. “Art Detective have come up with a very persuasive attribution for that painting,” says Beatrice. “There are not many examples of his work in this country, so that’s exciting.”

In the central Madsen gallery is the Views of York & Yorkshire exhibition of city, country and coast: Beatrice Bertram’s choices of topographical paintings and works on paper, the latter selected with her exhibition assistant, Genevieve Stegner-Freitag, the Friends of York Art Gallery MA Research Scholar.

Works on show span William Marlow’s The Old Ouse Bridge, York, painted in 1763, to Ed Kluz’s View Of Exhibition Square, York, from 2012. At the heart of the show is York Art Gallery’s W.A. Evelyn Collection, donated to the gallery in 1931 from the estate of philanthropist Dr William Arthur Evelyn (1860-1935).

As his collection of 1,500 prints, watercolours, drawings and engravings focused on York and Yorkshire, the gallery has since added further works of York and beyond the city walls, expanding the collection to 4,000, aided by the Evelyn Award annual competition that elicited new works too.

Among the highlights is the gallery acquisition on show for the first time, Anthony Vandyke Copley Fielding’s Rivaulx Abbey. Shouldn’t that be Rievaulx Abbey? “Artistic licence!” says Beatrice.

Along with works by JMW Turner (Fountains Abbey), Letitia Marion Hamilton, John Piper, Thomas Rowlandson, Ethel Walker and Joseph Alfred Terry,  Grinton artist Michael Bilton’s Approaching Storm Over Calver Hill leaps out too.

“Combining canvas, oil, enamel and paper, it shows a disused quarry with post-industrial marks and pits from former lead mines, and by using different materials, Bilton makes it look like it’s constantly moving, and you can really feel like a storm is approaching,” says Beatrice.

Exhibition assistant Genevieve set to work on selecting 12 works from the Evelyn Collection for conservation. “For the most part, the prints were in pretty good condition but not exhibitable but with the Friends’ help, 12 have been restored that had never been exhibited before,” she says.

“I was looking for works that were not only in good condition but also works from the same period, the mid-19^th century, in three specific genres: Picturesque, Realist and Topographical.”

Genevieve, from Washington DC, is studying on the Art History programme at the University of York, arriving in the city last September, when her first experiences had an impact on her subsequent choices for restoration being dominated by York Minster (or York Cathedral, as several works call Europe’s largest Gothic cathedral building).

“The first thing I did when I came to York was to view the Minster. I’d seen pictures before, but we just don’t have buildings like that in the United States,” she says. “To see living history is so powerful, and I then wanted to pick out works in different genres that treat that history very differently.

“One of the nice things about the timing of working on the show is that it coincided with people not being able to go into the city since the March lockdown and that makes our appreciation of the Minster really come alive.”

Now, once more we can appreciate that history, that architecture, the city’s art collections, in person, as Beatrice acknowledges: “The real pleasure is to be able to show the public engagement in the gallery, becoming the curation voice of an exhibition, resonating with our current times,” she says.

“We’ve missed our audience so much, and it’s lovely for everyone to be able to stand close to artworks again, to breathe art in again. There’s no replacement for that experience.”

York Art Gallery has introduced free admission to its permanent collections, with timed tickets available at yorkartgallery.org.uk, and a Pay As You Feel initiative for Views of York & Yorkshire and Your Own Gallery, recommending a sum of £3, £5 or £7. Please note, booking is essential, along with the wearing of a mask or facial covering.

“We are in a challenging financial situation, as is every gallery in the country, so we would welcome contributions on a Pay As You Feel basis,” says Beatrice. “We are excited to be open again and to present exhibitions, but if we are going to be able to keep doing this, we shall have to fund-raise.”

VIEWS of York & Yorkshire and Your Art Gallery have opened against the backdrop of York Museums Trust warning that it would “run out of cash in January 2021”, if more financial support were not forthcoming.

The trust runs York Art Gallery, York Castle Museum, the Yorkshire Museum and York St Mary’s but revealed in a report to the City of York Council executive last week that the Covid-19 pandemic has brought about an “immediate financial threat to YMT’s continued existence”.

So much so that the trustees have registered a serious incident report with the Charities Commission, placing all four at risk of closure after the Coronavirus lockdown led to a “drastic loss of income at the very start of the peak visitor season”, leaving the trust facing a £1.54m deficit. 

At present, the city council provides £300,000 a year to the trust. The report, however, states the trust requires funding support of £1.35m this year and up to £600,000 in 2021 to ensure the visitor attractions remain open and the trust collections continue to be looked after.

The council has proposed to write a letter of guarantee, promising to provide the trust with up to £1.95m of the funds needed. One factor in what sum the councillors might agree will be whether the trust receives Government funding from the Culture Recovery Fund for cultural organisations to cover October 2020 to March 31 2021. The deadline for applications is September 5.