DOCSLIB.ORG

University of Huddersfield Repository

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
University of Huddersfield Repository University of Huddersfield Repository Raikes, Sophie Six Years in Halifax: A Short History of the Henry Moore Studio, Dean Clough from 1986 to 1992. Original Citation Raikes, Sophie (2021) Six Years in Halifax: A Short History of the Henry Moore Studio, Dean Clough from 1986 to 1992. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/35496/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ SIX YEARS IN HALIFAX: A SHORT HISTORY OF THE HENRY MOORE STUDIO, DEAN CLOUGH FROM 1986 TO 1992. SOPHIE RAIKES A thesis submitted to the University of Huddersfield in fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield in collaboration with the Henry Moore Institute February 2021 1 1. Foreword (p.5) 2. Recovering the Henry Moore Studio, Dean Clough, Halifax: a research journey. (p.22) 1. Introduction to the Henry Moore Studio 2. Lots of Catalogues and a Few Useful Articles 3. Fifteen Bulging Boxes 4. Some Long Conversations 5. A Doctoral Symposium 6. The Conceptual Framework 1. Benedict Anderson, Imagined Communities (1993) 2. Lucy Lippard, Six Years: The Dematerialisation of the Art Object from 1966 to 1972 (Verso, 1973/1997). 3. Stuart Hall, political essays. 4. ‘An Earthquake in People’s Minds’. 5. Six Years as a model for my own study. 3. A Spiralling History of Halifax (Figs 1 – 5) (p.46) 1. Giuseppe Penone, Contour Lines I-IV, 1988/9 2. Uncovering Reality 3. The Local Reality of Halifax 4. ‘The Eroded Steps’ 5. The Structure of History 6. A Factory in Time 7. The New Workers of Halifax 1. Chris 2. Paul 3. David 8. The Ideological Terrain of Dean Clough 2 4. ‘A Fascinating Place’ (p.79) (See Figs 6 – 21) 1. ‘A Unique Time’ 2. New Art in Yorkshire 3. ‘A Certain Sense of Regional Self Determination’ 4. ‘The Place of Place in Art’ 5. Art at Dean Clough 6. ‘It was Kind of Amazing’ 7. ‘A Magical Place’ 8. ‘This idea of the North’ 9. ‘Halifax as the New Cultural Centre of Britain’ 10. Abandon London (1986) 5. ‘A Passion for Enterprise’ (p.126) (See Figs 22- 30) 1. ‘Reinventing the North’ 2. Business and the Arts 3. ‘The Economic Situation of the Visual Artist’ 4. North and South 5. One Man’s Mill (1987) 6. The North Moves Southwards (‘Welcome to the North, Prime Minister’) 7. ‘Things Turned Around’ 8. ‘An Enterprising Art Culture’ 9. ‘New Contemporaries’ in Action: Young Artists in the Late 1980s. 10. Signals: Making It Happen (October 1988) 6. Penone Comes to Halifax (p.180) (See Figs 31 – 36) 1. A Northern Powerhouse of the Arts 2. ‘You’ve Got to Connect to Certain Things’: Paul and Robert get together. 3. An Imagined Community of the North 4. Like Stones in a Stream 7. The Ideological Terrain, 1988/9 (p.194) (See Figs 37 – 39) 3 1. A Pivotal Moment of Change 2. ‘The Context of So-Called Curating in Britain’ 3. ‘Why Should We Fund the Arts?’ 4. ‘The Shock of Serota’ 5. The Old Art Establishment 6. A European Art World 7. ‘The Tsar and Rasputin’ 8. A Cultural Enterprise 9. Falls the Shadow: Recent British and European Art (1986) 10. ‘A Space for Things to Happen’ 11. ‘The Patrician’ and ‘The Provocative’ 12. ‘Unequivocally a Space for Artists’ 13. ‘Money was No Object’ 14. A Production Company 15. ‘You Could Not Ignore the History’ 16. ‘A ‘Unity’ Out of Difference’ 17. ‘Thatcherite Colluders or the Inheritors of Punk’s Tradition’ 8. Conclusion (p.243) 9. List of Illustrations (p.245) 10. Bibliography (p.248) 11. Appendix 1: Illustrations (see separate attachment). (p.257) 4 1. Foreword Looking back now over the course of my PhD study, which feels like it has been a very long journey, it appears to me as a series of revolutions: that is, transformations in my way of thinking (hard now to contemplate that I have come out the other end of them) which completely changed my view, not just of my subject - the Henry Moore Studio at Dean Clough - but the art world within which I was working, and the way I wanted to write about it. When I embarked on the study in 2016, I was working as a collections curator at Leeds Art Gallery, based at the Henry Moore Institute. As the Institute is affiliated to the Henry Moore Foundation, which is the parent body of the Henry Moore Studio, I was – in theory - an insider to the project. In reality, the Studio had closed many years before I arrived on the scene, and I had never met Robert Hopper or any of the core group of people who worked there, so I came with little prior or special knowledge of the organisation. However, that is not to say that I came to the project empty-handed. Quite the opposite. As I see now (but only in retrospect), I was carrying around in my head an encompassing view of the art world, which permeated my professional practice. This did not relate to my work at the Institute or Leeds Art Gallery specifically, but a career spent working in and around institutions: from my art historical training (undertaken in a traditional university department), through several years of curatorial practice, latterly within the framework of a municipal gallery and specialist centre for the study of sculpture. Essentially, my job at the time was to categorise, evaluate and document works of art; then place them within the established canon of art history by displaying them in thematic, chronological or genre-based configurations; and, initially, I intended to explore the Henry Moore Studio in exactly this way. I wanted to define what it was, then compare it with other similar art organisations and situate it within a particular segment of art history, so that it could be better understood within my art world; and possibly used to inform future practice. It was not that I felt this method would be best particularly, but that I didn’t really know any other way. 5 From reading around the subject, I knew that the Henry Moore Studio had been a making and exhibition project, which generated a series of large-scale projects, in which the site was often a key element. Whilst the Studio had been funded by the Henry Moore Foundation, I understood that it had been run on the ground by a group of artists, based at Dean Clough, Halifax, under the leadership of Paul Bradley, who had been highly instrumental in the first project by Giuseppe Penone and subsequently managed most aspects of its programme. As a project operated by artists for other artists, under the auspices of an institution, I attempted to sketch a lineage for the Studio amongst artist-led initiatives, as they had evolved in the post-war period, specifically from the 1960s to the 1980s. Having emerged in the 1950s, I understood that the artist-run scene had flourished particularly in the ‘travelling culture’1 of the 1960s, when young people, including artists, were able to travel and mingle much more freely, establishing new galleries and places for art across Europe and America. In line with other counter-cultural and protest movements of that decade, it had been defined in opposition to mainstream commercial and institutional art systems, empowering artists to live and work in alternative ways. In the late 1960s and early 1970s, artist-led galleries had become crucibles for new types of practice, now considered art historically under the headings of minimalism, post-minimalism, conceptualism, Arte Povera and performance, which existing art systems had been unable or unwilling to accommodate. Through the later 1970s, and certainly by the 1980s, as art in the expanded field of post-1960s practice was absorbed into established systems, their oppositional character had started to dissipate. Increasingly, they were defined not so much against, as within mainstream systems, plugging holes in existing infrastructures; highlighting new talent; and providing an essential platform for young artists to show their work; hone their skills; and connect with the established art world. This overarching history has been documented in a British context by Andrea Tarsia (2003) and Claire Glossop (2003), who look principally at developments in London; Gabriel Gee, in Art in the North of England, 1979 – 2006 (2017) which explores grassroots activity in northern Britain; and texts by Sarah Lowndes (2003) and Craig 1 Youth Movements: Travel, Protest, and Europe in 1968. Author(s): Richard Ivan 6 Richardson (2016), which focus on the Glasgow art scene specifically. It can be sketched loosely as a journey from the Arts Lab, Drury Lane, London (1967-69), which ‘provided a space and a context for almost any type of cultural experimentation’2; to the artist-organised exhibition, Freeze (1988), which propelled its young protagonists, many of whom are now associated with the Young British Artist (YBA) movement of the 1990s, towards commercial success almost instantly.
Load more

Recommended publications
  • A-Different-View-Issue-1.Pdf
    Charnock Bates a Chartered Surveyors differentview Issue 2 Your first choice for desirable country properties in the West Yorkshire Region In This Issue Meet the team Beautiful Homes For Sale A Different View the scenery of Calderdale In The Community www.charnockbates.co.uk Prego A4 Advert :Layout 1 3/2/09 12:59 Page 1 a very differentparty? In Any Event.....You’ll Love How Much We Care The UK’s Favourite Party Planning Specialists Themed Parties . Charity Balls Prego Launch Parties . Summer Balls Annual Dinners . Christmas Parties Events _Un-Limited We Make All The Difference 0845 83 86 87 7 www.pregoevents.com BASED2 IN HALIFAX WORKING UK WIDE Charnock Bates Contents Chartered Surveyors STEWART CHARNOCK-BATES M.R.I.C.S Welcome to the second edition of our property based Corporate magazine which gives a brief insight into the type of properties that our available for 3 purchase through our agency. Introduction by Stewart Bates Our first edition proved to be so popular with our clients and advertisers that this magazine needed to be larger incorporating greater content on 4-5 local businesses and comments on both the property and seasonal climate About Charnock Bates and meet the staff that is currently upon us. 8 We have also increased the number of magazines printed which allows Property Listings for a greater circulation with area’s being targeted such as the Ryburn and Calder Valley’s, Skircoat Green and Savile Park, the Leeds side of Halifax including Lightcliffe and Norwood Green, the North side of Halifax 23 including from Ogden to Denholme and finally certain areas of Halifax.
    [Show full text]
  • PRESS 2007 Eimear Mckeith, 'The Island Leaving The
    PRESS 2007 Eimear McKeith, 'The island leaving the art world green with envy', Sunday Tribune, Dublin, Ireland, 30 December 2007 Fiachra O'Cionnaith, 'Giant Sculpture for Docklands gets go-ahead', Evening Herald, Dublin, Ireland, 15 December 2007 Colm Kelpie, '46m sculpture planned for Liffey', Metro, Dublin, Ireland, 14 December 2007 Colm Kelpie, 'Plans for 46m statue on river', Irish Examiner, Dublin, Ireland, 14 December 2007 John K Grande, 'The Body as Architecture', ETC, Montreal, Canada, No. 80, December 2007 - February 2008 David Cohen, 'Smoke and Figures', The New York Sun, New York, USA, 21 November 2007 Leslie Camhi, 'Fog Alert', The Village Voice, New York, USA, 21 - 27 November 2007 Deborah Wilk, 'Antony Gormley: Blind Light', Time Out New York, New York, USA, 15 - 21 November 2007 Author Unknown, 'Blind Light: Sean Kelly Gallery', The Architect's Newspaper, New York, USA, 14 November 2007 Francesca Martin, 'Arts Diary', Guardian, London, England, 7 November 2007 Will Self, 'Psycho Geography: Hideous Towns', The Independent Magazine, The Independent, London, England, 3 November 2007 Brian Willems, 'Bundle Theory: Antony Gormley and Julian Barnes', artUS, Los Angeles, USA, Issue 20, Winter 2007 Author Unknown, 'Antony Gormley: Blind Light', Artcal.net, 1 November 2007 '4th Annual New Prints Review', Art on Paper, New York, USA, Vol. 12, No. 2, November-December 2007 Albery Jaritz, 'Figuren nach eigenem Gardemaß', Märkische Oderzeitung, Berlin, Germany, 23 October 2007 Author Unknown, 'Der Menschliche Körper', Berliner Morgenpost, Berlin, Germany, 18 October 2007 Albery Jaritz, 'Figuren nach eigenem Gardemaß', Lausitzer Rundschau, Berlin, Germany, 6 October 2007 Natalia Marianchyk, 'Top World Artists come to Kyiv', What's on, Kyiv, Ukraine, No.
    [Show full text]
  • Local Government Boundary Commission for England Report No. 308 LOCAL Gotormfcjht
    Local Government Boundary Commission For England Report No. 308 LOCAL GOTORMfcJHT BOUNDARY COtfUISSIOK FOR ENGLAND REPORT LOCAL OOY^U-Ji^T liO'JiJjAifl COi.LklSoIGri ?CH EKGLAKD CHAIRMAN Sir Edmund Compton GCB KB]i DSPUTY CKAIfGi'iAN Mr J M Hankln QC TffilvIBSHS Lady Bov/den KrJ T Brockbank: Professor Michael Chisholm Mr H H Thornton C3 LL Mr D P Harrison PH To the Rt Hon. Merlyn Rees MP Secretary of State for the Home Department PROPOSALS FOH THE FUTURE ELECTORAL ARRANGEMENTS FOR THE METROPOLITAN BOROUGH OF CALDERDALE 1. We, the Local Government Boundary Commission for England, having carried out our initial review of the electoral arrangements for the metropolitan borough of Calderdale in accordance with the requirements of section 63 of, and Schedule 9 to, the Local Government Act 1972, present our proposals for the future electoral arrangements for that borough* 2. In accordance with the procedure laid down in section 60(1) and (2) of the 1972 Act, notice was given on 27 August 1975 that we were to undertake this review. This was incorporated in a consultation letter addressed to the Calderdale Borough Council, copies of which were circulated to West Yorkshire County Council, the Members of Parliament for the constituencies concerned and the headquarters of the main political parties. Copies were also sent to the editors of local newspapers circulating in the area and of the local government press. Notices inserted in the local press announced the start of the review and invited comments from members of the public and from interested bodies. 3. Calderdale Borough Council were invited to prepare a draft scheme of representation for our consideration.
    [Show full text]
  • Newsletter No. 71 Autumn 2007 Editorial
    NEWSLETTER NO. 71 AUTUMN 2007 EDITORIAL Welcome to the Autumn Newsletter. I hope that you all survived the very wet weather and flooding that we had in June and July. My area of South Yorkshire was particularly badly affected. Wortley Top Forge which is situated literally at the bottom of my road was flooded by the River Don and part of the miniature railway that runs round the site was washed away. When we arrived back from our holiday in Devon at the end of June we found a message on our answerphone from a neighbour who had spotted some of the carriages down stream caught on the bank. Fortunately they had been rescued by the time we got back from Devon (to a rather damp house). Thanks to hard work from the volunteers, the railway was back in operation two weeks later. Also badly flooded was Kelham Island Museum - again situated near the River Don. Photos of the flooding can be found at www.simt.co.uk. Unfortunately the museum is likely to be closed for some time while repairs are carried out and the popular annual ‘Down by the Riverside’ event celebrating the use of the waterways in Sheffield originally planned for 22 September has had to be cancelled. I attended part of the annual AIA conference which this year was held at Preston in mid August and focused on the IA of Lancashire. A full report will be included in the next Newsletter but David George, who was one of the organising committee, has sent in a report of the pre-conference seminar on Urban Regeneration and the adaptive use of industrial buildings.
    [Show full text]
  • Decentralised &Ecological Seeds&Farmingintheeu
    REVIEW REPORT ON DECENTRALISED & ECOLOGICAL SEEDS & FARMING IN THE EU Authors: Stephan Kampelmann, ULB (DULBEA/IGEAT) Wouter Achten, ULB (IGEAT) Tom Bauler, ULB (IGEAT) Dimitrios Petalios, Independent Researcher Case studies by Stefan Doeblin, Network Economy Brussels, 21 October 2014 1 TABLE OF CONTENTS Table of contents ............................................................................................................................................... 2 Synopsis ............................................................................................................................................................. 3 1 Introduction ............................................................................................................................................... 5 1.1 Promises and questions ........................................................................................................................ 6 1.2 Objectives, scope and structure of the report ..................................................................................... 6 1.3 Definitions ............................................................................................................................................ 8 1.3.1 Food systems and value chains ................................................................................................... 8 1.3.2 Ecological seeds and farming ....................................................................................................... 9 1.3.3 Centralised/decentralised food
    [Show full text]
  • Wjt Mitchell - What Sculpture Wants: Placing Antony Gormley
    WJT MITCHELL - WHAT SCULPTURE WANTS: PLACING ANTONY GORMLEY From ANTONY GORMLEY, Phaidon, London, UK, 1995 and 2000 'The continuation into the twentieth century of a traditional treatment of the human figure is not given a place in these pages ?' - Rosalind Krauss, Passages in Modern Sculpture (1977) 'Sculpture: the embodiment of the truth of Being in its work of instituting places.' - Martin Heidegger, 'Art and Space' (1969) 'It is undeniable that from man, as from a perfect model, statues and pieces of sculpture ? were first derived.' - Giorgio Vasari, Lives of the Artists (1568) Sculpture is the most ancient, conservative and intractable of the media. 'The material in which God worked to fashion the first man was a lump of clay', notes Vasari, [1] and the result was a notoriously rebellious sculptural self-portrait, since God took himself as the model and formed Adam (or Adam and Eve together) 'in his image'. You know the rest of the story. God breathes life into the clay figures. They have minds of their own, rebel against their creator, and are punished for it by being condemned to leave their paradisal home and work all their lives, only to die and return to the shapeless matter from which they emerged. Variations of this myth appear in many cultures and materials: Prometheus' creation of man from clay; the Jewish Golem; the clay statuettes animated by the Great Spirit in Hopi legend; Pygmalion falling in love with his own statue; 'the modern Prometheus', Dr Frankenstein, who uses dead bodies as material for his rebellious creatures; the metallic humanoids of contemporary science fiction, the 'post-human' creatures known as robots and cyborgs.
    [Show full text]
  • Wjt Mitchell - Architecture As Sculpture As Drawing: Antony Gormley's Paragone
    WJT MITCHELL - ARCHITECTURE AS SCULPTURE AS DRAWING: ANTONY GORMLEY'S PARAGONE From ANTONY GORMLEY: BLIND LIGHT, The Hayward Gallery, The Southbank Centre, London, UK, 2007 What is the relationship between architecture, sculpture and drawing, when considered as 'ways of world- making[1]'? William Blake provides a triptych showing three portraits of the artist as demiurge, creator of a world. First, the architect: Urizen with his compasses dividing the light from the darkness, outlining the spherical form of the cosmos, measuring out the abyss. Second, the sculptor: Los with his hammer, resting to behold his creation, a fiery globe that has been shaped on his forge. Third, the painter-draughtsman hovering over a globe of blood that has drained from his body, like a mother nurturing an embryo with a placenta of fibres, hair and veins. Three images of the artist engaged in what Henri Lefebvre calls the 'production of space[2]': conceived space, the space of the designer or architect; lived, practised, constructed space, the realm of the builder and shaper of materials, the sculptor; perceived or 'secreted' space, the immersive environment, reproduced blindly and instinctively, like automatic drawing or painting. Of course a blink of the eye allows all three figures to change places: the architect is a draughtsman, drawing the outlines of the world in space, sketching a shape to be sculpted in matter; the sculptor is an architect and draughtsman, drawing his form in metal and shaping a world with his hammer; the painter-draughtsman gives birth to a world with fluids drawn from her own body, caught at the moment of parturition when the drawing is still going on, the wound of the birth trauma is still bleeding, the embryonic world not yet separated from its creator.
    [Show full text]
  • ANTONY GORMLEY Bibliography Selected Publications 2016 Abbas
    ANTONY GORMLEY Bibliography Selected Publications 2016 Abbas, Ackbar. Event Horizon Hong Kong. British Council, 2016. Winterson, Jeanette. LAND. Thames & Hudson: London, 2016. 2015 Antony Gormley: On Sculpture, Thames & Hudson: London, 2015. Torres, Jorge Fernández. Follia Continua! 24 Years of Galleria Continua. Gli and Ori and Galleria Continua: Pratio, 2015. Risaliti, Sergio. HUMAN: Antony Gormley, Florence: Forma Edizioni, 2015. Sardo, Delfim. Afinidades Electivas | Julião Sarmento Coleccionador, Fundacão Carmona e Costa. Lisbon: Portugal, 2015. 2014 Antony Gormley, Meet, Stockholm: Galleri Andersson/Sandström, 2014. Antony Gormley, Expansion Field, Ostfildern: Hatje Cantz, 2014. Collings, Daniel, Anthony Seldon, foreward by HRH The Prince of Wales. The Architecture of Diplomacy: The British Ambassador’s Residence in Washington, Paris, France: Flammarion, 2014. Deblonde, Gautier. Gautier Deblonde, Atelier, Göttingen, Germany: Stiedl, 2014. Noble, Richard, in conversation with Antony Gormley. States and Conditions, Hong Kong, Hong Kong: White Cube, 2014. 2013 Antony Gormley: Firmament en Andere Stelsels (Firmament and Other Forms), Antwerp, Belgium: Middelheimmuseum, 2013. Antony Gormley: Meter, Salzburg: Galerie Thaddaeus Ropac, 2013. Dantas, Marcello, Agnaldo Farias, W.J.T. Mitchell, Luiz Camillo Osorio. Antony Gormley: Still Being / Corpos Presentes, São Paulo, Brazil: Centro Cultural Banco do Brasil, 2013. Antony Gormley: MODEL, London: White Cube, 2013. Moszynska, Anna. Sculpture Now, London: Thames & Hudson, 2013. Two Times: Antony Gormley Project in Hayama - Workshop Report, Hayama, Japan: The Musem of Modern Art, Kamakura & Hayama, 2013. Grovier, Kelly. 100 Works of Art That Will Define Our Age, London, United Kingdom: Thames & Hudson , 2013. 2012 Cristiani, Mario, Saskia Sassen, Mario Codognato And Richard Sennet. Vessel, San Gimignano: Galleria Continua, 2012. Dantas Marcello. Still Being / Corpos Presentes, São Paolo, Brazil: Centro Cultural Banco do Brasil, 2012.
    [Show full text]
  • Index to Yorkshire Journal
    Index to Yorkshire Journal A full index to the previous year’s issues was published in each Spring issue from 1994 to 2004. It would be extremely time consuming to combine these annual indexes into a single master index, so the annual indexes are individually reproduced in the remainder of this document. Fortunately it is relatively simple to find all references using the search function in your reader – usually this is invoked by pressing the Cntrl and F keys simultaneously. No index exists for the last three 2004 issues, as publication ceased at the end of this year, Each reference is indexed by the issue number (in bold type) followed by the page number. The issue numbers are: Spring Summer Autumn Winter 1993 1 2 3 4 1994 5 6 7 8 1995 9 10 11 12 1996 13 14 15 16 1997 17 18 19 20 1998 21 22 23 24 1999 25 26 27 28 2000 29 30 31 32 2001 33 34 35 36 2002 37 38 39 40 2003 - 41 42 43 2004 44 45 46 47 There was also a trial issue (Winter 1992) referenced by 0 The following suffixes have been used to identify the different types of material being referenced: a an illustration: drawing, painting, etc p photograph cp cover photograph v verse dv dialect verse ss short story (R) book review For example, 2 110p refers to a photograph on page 110 of the summer 1993 issue. Where no suffix is given, the reference is textual. Subject Index A Askrigg Kings Arms I 89-90 Addingham Atkinson, John Christopher Church of St Peter 3 68p Forty Years in a ‘Moorland Paris/1 Addlebrough 2 83p (r891), excpt 3 22 Adel auctions 4 I 15—17 Church of St John the Baptist
    [Show full text]
  • Industrial Archaeology
    RESEARCH AGENDA INDUSTRIAL ARCHAEOLOGY by Helen Gomersall This document is one of a series designed to enable our stakeholders and all those affected by our advice and recommendations to understand the basis on which we have taken a particular view in specific cases. It is also a means by which others can check that our recommendations are justifiable in terms of the current understanding of West Yorkshire s Historic Environment, and are being consistently applied. As the document is based upon current information, it is anticipated that future discoveries and reassessments will lead to modifications. If any readers wish to comment on the content, the Advisory Service will be glad to take their views into account when developing further versions. Please contact: The West Yorkshire Archaeology Advisory Service Registry of Deeds Newstead Road tel: 01924 306797 Wakefield, WF1 2DE email: [email protected] Issue 1, June 2005 (Reviewe d: 2009) © West Yorkshire Archaeology Advisory Service, 2005 Industrial Archaeology 1 1. INTRODUCTION 1.1 This paper is intended to give a brief overview of the current state of the publicly-accessible resource available for the study of Industrial Archaeology within West Yorkshire (that portion of the old West Riding which formed a Metropolitan County Council between 1972 and 1986), and to frame suggestions for further lines of directed research in the area. Within this context, the definition of Industrial Archaeology is based on the current practice of the West Yorkshire Archaeology Service Advisory Service. Industrial Archaeology is therefore defined as the study of the physical remains of all aspects of anthropogenic activity for the period 1700-1950, with an emphasis on the development and use of technology and manufacture.
    [Show full text]
  • Nr, 2 February 2000 Public Art and City Identity.Political and Cultural Issues in the Development of Public Art in the UK City O
    Nr, 2 February 2000 Public Art and City Identity.Political and cultural issues in the development of public art in the UK city of Leeds. Doug Sandle Reader in Visual Studies, School of Art, Architecture and Design Leeds Metropolitan University. Public art by its nature concerns not only aesthetics, but situated in public space it is contextualised by social, cultural and political issues. Public sculpture, for example, both defines and is mediated by its spatial location, and as such is part of a social dynamic in which ‘the processes through which a person defines him / herself in a society are not restricted to making distinctions between oneself and significant others, but extends with no less importance to objects and things, and the very spaces and places in which they are found.’ (Proshansky, Fabian & Kaminoff :1983). This is pertinent not only to space within the localized environment, but also to whole constructed identities such as towns and cities. For example in Leeds, a major UK city located in the north of England, such contextual variables have helped to determine the city’s changing relationship with public art, and in particular with publicly placed sculpture. The city of Leeds is 320 kilometers north from London, and with a population of 725,000 is the third biggest city in the United Kingdom. Covering an area of 562 square kilometers it is also the largest Metropolitan area outside London under a single local government authority. Although it does have areas of social deprivation, Leeds has been successful in resisting economic recession, and with one of the lowest unemployment rates in the United Kingdom it has a ‘dynamic and thriving local economy that has coped with the decline of traditional manufacturing industries by embracing new sectors and turning itself into a national leader in the provision of financial services’ (Smales and Burgess: 1999).
    [Show full text]
  • Copy of 142 Spring for Website
    THE SCRIVENER The Journal of Calderdale Family History Society Incorporating Halifax & District Number 142 SPRING MARCH 2013 CALDERDALE FAMILY HISTORY SOCIETY Incorporating HALIFAX and DISTRICT Calderdale Family History Society was founded on the 7th March 1985. We aim • To encourage interest in, and assist with, research relevant to the study of fam- ily history in Halifax and the Calder valley. Our area • Covers the modern Calderdale Council established in 1975, which broadly cov- ers the same area as the Ancient Parish of Halifax, with the addition to the west of the township of Todmorden and Walsden. We do this by • Holding meetings, usually on the 4th Thursday of each month (except August) in Halifax. • Publishing The Scrivener, a quarterly journal, in paper form for full members and on our website for internet members. Contact the Editor. • Hosting a website www.cfhsweb.com/web/, and a members’ forum. Contact the Webmaster. • Running a Research Room at Brighouse Library two half days a week for per- sonal research. Contact the Research Room co-ordinator. • Running projects to transcribe records relevant to members’ research. Contact the Projects Co-ordinator. • Publishing transcribed records. Contact the Publications Officer. • Providing an enquiry and search service from our records in the Research Room. Contact the Enquiry service Co-ordinator. • Maintaining a list of members’ interests by surname and dates of interest, which are available to members on the website. Each quarter new additions are pub- lished in The Scrivener. Contact the Members’ Interests Co-ordinator. • Maintaining an index of “Strays” (Calderdale people who appear in records else- where).
    [Show full text]