All manner of bodies

If ever another b-word vied for dominance in my current vocabulary over the name of a certain artist, “bodies” is currently putting up a good fight.

 

As mentioned previously, I’m involved in organising a postgraduate symposium called “Untouchable Bodies?” which will explore how interact with bodies (in various senses) and the social, political, ethical, religious and other constraints and concerns which influence these encounters. The event is on Friday (at the wonderful John Rylands Library), so we’ve been finalising details like how to structure the discussions around the Special Collections items we’re using, as well as more banal logistics like catering (accommodating the various bodily needs/choices of our delegates’ diets!).

 

I’m also involved in Manchester’s strand of the Research Councils UK ‘Schools and Universities Partnership’ as a ‘PhD Demonstrator’ for the Whitworth Art Gallery. My role is to deliver workshops, together with a science PhD researcher, on “Drawing Anatomy.” This will explore anatomy from both scientific and artistic approaches, and will in part be shaped by our own research interests.

 

As the Whitworth Art Gallery is currently closed, we are using the Manchester Museum as our venue. On Monday, we had a training session to develop the workshop, working with Denise Bowler (Secondary & Post-16 Coordinator at the Whitworth) and artist Sarah Sanders. We had fun trying to identify animals from their skeletons in the museum displays, and tried out various drawing activities. We have a trial session next month to test the workshop in action. Here is a piece of quick collaborative drawing – a monkey by me, to which Denise gave a friend:

 

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Meanwhile, at Manchester Art Gallery, Grayson Perry’s tapestries have given way to an exhibition exploring twentieth-century sculpture and last week I spent a morning exploring it as part of a training day for the gallery’s volunteer guides (of which I am one). ‘Sculptural Forms: A Century of Experiment’ explores a broad range of sculptural practices in the twentieth century through three themes: ‘The Human Condition,’ ‘Abstraction’ and ‘Transformation.’

 

‘The Human Condition’ is obviously most pertinent to my interest in bodies. I’ll limit myself to mentioning two works here to avoid an overly-long post. The earliest work is the gallery’s cast of Rodin’s iconic ‘The Age of Bronze‘; first modelled in 1876, this work sparked controversy when it first appeared for its extremely life-like appearance (people thought that it had been cast from life), not conforming to the formal, idealised types of human figures which had dominated the art of sculpture. Rodin made numerous casts of this work; Manchester Art Gallery’s was cast in 1911 and was specially commissioned by the gallery as the first sculptural work in the collection.

 

Nearby is Eric Gill’s ‘Sleeping Christ‘ (c.1924). I’m a bit of a fan of Gill’s work (in fact, I recently had an essay published on Gill’s Stations of the Cross in Westminster Cathedral published by the Catholic Archives Society) so I was pleased to see this work on show. It also makes an interesting counterpoint to the Rodin for tour purposes – Gill championed ‘direct carving’ whereby the sculptor responds to the material s/he is working with to ‘find’ the form of the work within the material rather than first making a model (in clay, for instance) and he did not think much of Rodin. It seemed to go down quite well in my tour today.

 

Across the river in Salford, on Thursday night I went to the opening of another exhibition ‘Encountering Corpses‘ at Sacred Trinity Church which is part of a project at Manchester Metropolitan University. The exhibition features works by various artists which respond to the theme of death and the body. The launch put me in mind of Blake’s poem ‘The Little Vagabond‘ for the church was full of art, poetry, song, wine and spectacular cakes (see below). However, it was so busy that I barely managed to look at the works on display, but will be returning as part of ‘Untouchable Bodies?’ on Friday.

 

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Finally, in thesis-land, I have been looking at Blake’s depictions of the crucifixion and therefore thinking about the ways he depicts Christ’s body on the cross and the implications this has for us as members of Christ’s corporate “Divine Body” (only accidentally well-timed for Lent). I’ll end with one example, Plate 76 of ‘Copy E’ of Jerusalem from the Yale Center for British Art (where I am excited to be going later this year):

 

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Print made by William Blake, 1757-1827, British, Jerusalem, Plate 76, 1804 to 1820, Relief etching printed in orange with pen and black ink, watercolor, and gold on moderately thick, smooth, cream wove paper, Yale Center for British Art, Paul Mellon Collection

Burning Bright. Part 1: Kindling

This is a post I wrote a couple of weeks ago for the Afterlife of Heritage Research Project through which I took part in training about how to develop public outputs from research. Apologies there is some repetition from previous posts here. Things have moved on in the past two weeks, so this will serve as a precursor to an update I hope to write at the end of the week.

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My project is linked to the exhibition “Burning Bright” at the John Rylands Library which examines William Blake and the world of the book.  The exhibition includes books illustrated by Blake and explores his impact on subsequent generations of artists and writers. Blake’s influence continues to “burn bright” and activities alongside the exhibition encourage visitors to take creative inspiration from his work.

Blake’s work as a visual artist is the focus of my PhD — specifically, I am examining the role of Christ in Blake’s images — so I had a ready-made opportunity to relate my research to public audiences. There are three strands to my contribution to the exhibition programme: creating a workshop for school groups inspired by the exhibition, devising a tour for the public programme, and contributing to an online version of the exhibition. After months of meetings, planning and looking at books in the reading room, things are coming together, so I’m going to share how things are shaping up.

Schools workshop: Blake and the Bible

Taking as its inspiration Blake’s Illustrations to the Book of Job, a copy of which is in the exhibition (and was only recently discovered in the Rylands collection), my workshop will explore different ways of retelling stories from the Bible, with students creating their own version of a Bible story. I’m going to give the students a choice of producing either a design in the format of Blake’s Job illustrations (which have an image in the centre with commentary and designs in the margin) or a newspaper article.

Preparing for this workshop has involved lots of discussion with the education team and I’ve sat in on some other workshops in the education programme to help get a feel for what works well. There are also two MA students, Liz and Amy, running workshops alongside the exhibition, and each of us has chosen a different theme. I sat in on one of Amy’s workshops last week, which was on personification, with pupils writing personification poems, and it was fantastic to see how well the pupils engaged with the theme.

I’m going to be running my session for five groups between years 7 – 10 in the middle of May and I’m looking forward to seeing what results come of it!

Rylands Blake workshops

Advertising for the exhibition education programme.

Public tour: Blake and the Gothic

This tour will explore Blake’s fascination with the Gothic, inspired by the John Rylands Library itself which is a grand neo-Gothic building. This will be an opportunity to show visitors items from the collection not included in the exhibition — by Blake himself and by others interested in the Gothic to weave a narrative between Blake and the library building.

Preparation has involved lots of delving through books from the collection and I’ve been spoilt for choice because the collection is so rich in this area, so I have had to be very self-disciplined in deciding what to use. Stella Halkyard who looks after visual collections at the library and curated “Burning Bright” has been a great source of advice and arranged for me to see the massive volumes of Boydell’s Shakespeare Gallery (it takes two people to move them) which contain some fantastically spooky engravings of subjects from Shakespeare by Blake’s friends and foes.

I’ll be running this tour twice in June.

Burning Bright online

Once all the books in the exhibition have been returned to the stores at the end of Jun, “Burning Bright” will continue to burn in the shape of an online exhibition. This will provide a legacy for the exhibition itself and for the activities which have taken place alongside it. Work produced in the schools workshops is being photographed as are the fruits of printing workshops offered as part of the public programme. I will also be writing up a version of my Gothic tour. The funding from the Afterlife of Heritage Research Project will help to pay for the photography of items in the collection for the online exhibition.

I was part of a meeting about the online exhibition last week and the provisional designs look great, so I’m excited about seeing how it will come together. I’ve come up with an idea for the structure which I need to discuss with the web team, and I need to finalise my order for the photography department, then start writing it all up.

Birds B&W

An example of work produced in a printing workshop, inspired by one of Blake’s Illustrations to the Book of Job.