Art

Immaculate Conception – Failsworth

Posted on May 19, 2019May 19, 2019 by modernmoocher

Clive Road Failsworth Manchester M35

A church of the early 1960s, built before the Second Vatican Council on a traditional basilican plan. The design is striking and unusual, with an interesting combination of Gothic, classical and modern architectural motifs. The architect, Tadeusz Lesisz of Greenhalgh & Williams, is a little known figure but a designer of some interest. The church exhibits a scheme of sculpture, stained glass and mosaic on Marian themes, mainly by local designers, and retains almost all of the original furnishings and fittings in little altered state. It also retains furnishings from the late-nineteenth-century predecessor church.

Taking Stock

The church is Grade II Listed

The west front is very striking, the broad entrance arch enclosing a suspended aluminium figure of the Virgin by E.J. Blackwell of Manchester, who also executed the moulded artificial stone friezes.

The stained glass is by Charles Lightfoot, much of it to the designs of the architect, some incorporating glass from the previous church.

Dorothy Annan Mural – The Barbican

Posted on February 13, 2019 by modernmoocher

I’ve been to the Barbican before, wandering the walkways without purpose.

This is a whole new box of tiles, the search for a re-sited mural, a first time meeting with what would seem at once like an old and well-loved friend.

Dorothy Annan 20 January 1900 – 28 June 1983

Was an English painter, potter and muralist, married to the painter and sculptor Trevor Tennant. She was born in Brazil to British parents and was educated in France and Germany.

Annan’s paintings are in many national collections, she is also known for her tile murals, many of which have been destroyed in recent decades. Only three of her major public murals are believed to survive, the largest single example, the Expanding Universe at the Bank of England, was destroyed in 1997.

I was looking for her mural which illustrates the telecommunications industry – formerly of the Fleet Building Telephone Exchange Farringdon Road.

The murals were commissioned at a cost of £300 per panel in 1960. Annan visited the Hathernware Pottery in Loughborough and hand-scored her designs onto each wet clay tile, her brush marks can also be seen in the fired panels.

The building was owned by Goldman Sachs, who wished to redevelop the site and opposed the listing of the murals.

In January 2013, the City of London Corporation agreed to take ownership of the murals, and in September 2013 these were moved to a permanent location in publicly accessible part of the Barbican Estate. They are displayed in their original sequence within an enclosed section of the Barbican High Walk between Speed House and the Barbican Centre.

So following a discursive and somewhat undirected circumnavigation of the Center we were finally united – it only seemed polite to linger a while and take some snaps – here they are.

Ghost Signs – Scarborough

Posted on May 8, 2017May 12, 2017 by modernmoocher

All towns have ghosts, none more so than Scarborough.

High atop a castle topped, wind whipped promontory, lies Anne Bronte, overlooking the harbour below, wayward Whitby whalers wail, lost fisher folk seek solace.

Its walls ache with traders past, scissors that no longer snip, click-less shutters, unlettered rock and loaves that no longer rise.

Layers of sun baked, peeling paint on brick, rendered almost illegible.

As Alan Resnais would say Scarborough, mon amour!

Adolfine Ryland

Posted on February 26, 2017February 26, 2017 by modernmoocher

Adolfine Ryland worked as a printmaker, sculptor, painter and designer. Her practice across these different media was united by her keen-edged, modern style and inventive graphics. She had studied at Heatherley’s and at the Grosvenor School of Modern Art under printmaker Claude Flight.

Ryland’s main exhibiting venue was the Women’s International Art Club, where she showed from 1927 onwards, becoming a member from 1936 to 1954. She also undertook public commissions, and worked for London County Council designing low reliefs for a number of buildings, among them the School of Butchers and St Martin’s School of Art. Her reliefs for the art school, which still decorate the entrance, show students at work. But Ryland’s work is not always easy to identify as she sometimes signed herself ‘Koncelik’, her mother’s maiden name.

In 1987 the Michael Parkin Gallery in London held an exhibition Printmakers of the 20s and 30s and Adolfine Ryland. On show were Ryland’s paintings, drawings, prints, sculptures and designs for book jackets and posters. Amongst them were two designs advertising London Underground, which speak of an optimistic age of efficient, modern public transport to the new suburbs.

It says so here

I was sauntering down Charing Cross Road on Saturday last, minding my own and everyone else’s business, then perchance I chanced upon a series of low reliefs, tucked neatly away in a nearby portal.

The London County College for the Distributive Trades – rightfully adorned with appropriate public art depicting the lasses and lads, going about their very practical business.

These are the work of Adolfine Ryland.

The building is currently in use as Foyles Bookshop.

Returning home, I did a little online research, turning these examples of her work. As is often the case with those figures considered to be on the margins of the big bad Art World, time and the subsequent neglect, conspire to leave little by way of evidence of their invaluable efforts.

This is our loss.

Found Art

Posted on August 9, 2016August 9, 2016 by modernmoocher

For more years than I care to remember I have had an interest in Found Art.

The naturally occurring collision of printed material, the unseen hand and weather.

Our streets are literally littered with the stuff.

Conscious of the work of Kurt Schwitters, Hannah Hoch, Jasper Johns and Robert Rauschenberg, I’m conscientiously out and about in search of the unconscious.