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PUBLIC ART TRAIL Draw Your Attention to Art You May Never Have Previously Noticed and Grew up in Cornwall

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PUBLIC ART TRAIL Draw Your Attention to Art You May Never Have Previously Noticed and Grew up in Cornwall WELCOME TO SIMON FUJIWARA (b.1982) ERIC GILL (1882-1940) MITZI CUNLIFFE (1918-2006) LORNA GREEN A SPIRE 4 CHRIST DRIVING THE MONEYCHANGERS 6 MAN-MADE FIBRES 8 MEET, SIT AND TALK and PUBLIC ART ON CAMPUS! FROM THE TEMPLE CONVERSATION Public Art has played a key role on the University of Leeds campus from 2015 ■ Cast jesmonite 1923 ■ Portland stone 1956 ■ Portland Stone Meet, Sit and Talk ■ 1995 ■ the controversial Eric Gill First World War Memorial Christ driving the Laidlaw Library, Michael Sadler Building, foyer Clothworkers’ Building South Sandstone and gravel Moneychangers from the Temple (dedicated in 1923) to the recent Woodhouse Lane entrance Conversation ■ 1999 ■ piece by Simon Fujiwara, A Spire, commissioned to celebrate the new A controversial figure, the The American sculptor Mitzi Sandstone and polished granite Laidlaw Library in 2015. Art on campus enhances the experience of The British-Japanese devoutly religious Gill was born Cunliffe (née Solomon) was born Chancellor’s Court CURATING THE CAMPUS: students, staff, local communities and visitors, reflecting the academic artist Simon Fujiwara in Sussex and initially trained to in New York and is renowned research themes and learning activities of University life. This trail will was born in London and be an architect. He abandoned for having designed the famous Lorna Green is a sculptor and PUBLIC ART TRAIL draw your attention to art you may never have previously noticed and grew up in Cornwall. He his studies in 1903, eventually theatrical mask for the BAFTA environmental artist based in celebrates the creative communities on campus including our Fine Art studied Architecture at the establishing himself as a sculptor, award. Cunliffe was active as a Cheshire, who works in both and Art and Design students whose work can often be seen in public University of Cambridge producing works with precise designer of jewellery, textiles and urban and rural environments spaces over the summer months as part of their graduation shows. from 2002-05 and Fine linear simplicity. In 1914 he was glass, as well as teaching in later nationally and internationally. Art at the Städelschule commissioned to create the Stations life. She studied Fine Art at Columbia Her public art installations can be This year we highlight the role textile heritage has played in the history Hochschule für Bildende of the Cross for Westminster Cathedral. University from 1935-40. In 1949, permanent or temporary and are of the University of Leeds, as we celebrate the 60th anniversary of Kunst in Frankfurt am Main While working on these, Michael Sadler she came to England when she married a often interactive. She did her MPhil at the Man-Made Fibres sculpture by Mitzi Cunliffe on the Clothworkers’ from 2006-08. He is now based – then the University’s Vice-Chancellor – British academic and moved to Manchester. the University of Leeds and was a visiting South Building (originally the ground-breaking Man-Made Fibres in Berlin. His first major British approached him to discuss a war memorial for Her first large-scale public piece was created lecturer in the School of Fine Art, History of Building). Textile artist Jane Scott will be responding to the sculpture exhibition was at Tate St Ives in 2012. Leeds. Gill revived a proposal rejected by the London for the Festival of Britain in 1951 – Root Bodied Art and Cultural Studies from 1990 to 1997. with a temporary intervention over the summer months, which will County Council to commemorate their war dead, a freestanding Forth which was an 8-foot concrete group. In 1955, the same year she In 1995 she was commissioned to create a site-specific unfold beneath the newly conserved original. Across campus research Fujiwara adopts a quasi-anthropological bronze of Jesus and the Moneychangers. For Leeds, Gill suggested a designed the famous BAFTA award, she was commissioned to create sculpture for the Chancellor’s Court. Meet, Sit and Talk is made up into our textile heritage will be celebrated with public poetry, dance approach in his practice and this work is his first stone frieze, with Christ expelling a group of moneychangers from the a major piece for the new Man-Made Fibres building at the University of 3 stone circles, each stone bearing a rectangle of polished granite performances, textile interventions and hand knitted community public art commission. The commissioning committee, which included temple– though with some in contemporary attire. In doing so, Gill was of Leeds. Professor JB Speakman, Head of the Department of Textile reflecting the sky and surrounding environment. Green explains the canopies produced at workshops on campus and beyond, transforming student and staff representation, sought to create a new outstanding suggesting that the merchants of Leeds had profited from the war. Industries, required a piece which would reflect the exciting progress sculpture ‘is intended to be used – for sitting, for meeting at and to our open spaces. Exhibitions at The Stanley & Audrey Burton Gallery, feature at the very entrance of the University, in front of the new in the field of synthetic fibres. Cunliffe submitted drawings and a create a socially interactive space’ and students can be seen lunching the Marks & Spencer Company Archive and ULITA will celebrate textile Laidlaw Library. Fujiwara’s work, A Spire, is a beacon and totem that Gill’s relief was carved in five sections and was initially installed maquette for a vast pair of hands with textile fibres crossed between and revising among the stones on sunny days. Green redesigned the histories accompanied by a series of public art events. We celebrate the evokes the industries on which the University, and indeed, the city, are prominently on the wall beneath the University’s Great Hall. It was them, to be executed in Portland stone. Man-Made Fibres was whole area in collaboration with landscape architect Allan R. Ruff, role played by our benefactor Stanley Burton (1914 – 1991) in acquiring largely built. A Spire is conceived as a soaring visual timeline dedicated by the Bishop of Ripon on 1 June 1923. The subject matter unveiled by the Duke of Edinburgh when the new building was opened who created a garden path recalling the flow of a river, the planting art works for campus, acknowledging the role he played in his family – a skyward archaeology that connects the past and the present. was very different from that normally expected of memorials – soldiers in June 1956 and now 60 years on, the work has just been conserved changing shape and colour as the seasons pass. textile company. His father Montague Burton founded the company Tall and cylindrical in form, A Spire is the third spire between two or mourning angels – and caused immediate comment. The Yorkshire so it can be seen again in its original state. in 1904, originally under the name The Cross-Tailoring Company and church buildings on Woodhouse Lane, drawing attention to the Post described it as a ‘curious monument which... promises to create In 1999, Green collaborated on a further intervention, by 1929 they had 400 stores, factories and mills, employing 11,000 physical qualities of the site and creating a visually arresting moment much controversy’ and other local press agreed the work was ‘bizarre’, Cunliffe spent her entire working life bringing Roof Garden, a landscaping project with John people in Leeds itself. Stanley entered the business after World War II on the campus. From the pulverised coal integrated at the base of ‘puzzling’, ‘strange’ and ‘not appropriate’. Gill enjoyed the controversy sculpture and architecture together. She Micklethwaite-Howe now reconverted and became a friend of the sculptor William Chattaway and initiated the the spire symbolising the coal on which Leeds’ prosperity was built, to and published his own defence of the work. Others rallied to defend wanted her work to be ‘used, rained into a sustainable community garden. commission of Quentin Bell’s Levitating Figure. the branches and cables laid into the cast, the surface of intertwined it, including JRR Tolkien. Sadler himself steadfastly championed Gill’s on, leaned against, taken for granted’, Green wanted to connect the natural and technological elements symbolises the current digital era masterpiece as ‘one of the finest things in modern declaring that her life-long dream new garden with her previous Professor Ann Sumner, Head of Cultural Engagement in which organic and man-made materials merge. A Spire creates a art,’ adding ‘the carving will tell its own tale’. ‘is a world where sculpture is work, and so created another unique new presence at the top of Woodhouse Lane, capturing an ever Subsequently, the weather took its toll produced by the yard in factories sculpture, Conversation. The Start your tour at The Stanley & Audrey Burton Gallery, where you will changing vertical landscape and the passing of time. on the work and ivy was allowed to and used as casually as bricks’. three standing stones, inlaid find an introductory storyboard. Public Art included in this leaflet is to grow over it, until the frieze was In this case however, Man-Made with round plaques of black be found in open spaces and building foyers across campus. Begin your removed to a safer location in Fibres is positioned so high on the granite, respond to the stone tour in the Parkinson Court, immediately outside the gallery... the foyer of the Michael Sadler Clothworkers’ Building South that it circles and celebrate the Below: A Spire (detail) © Simon Fujiwara (Photograph: Andy Manning) building in 1961. can easily be missed. dialogue between sculpture and nature on campus. The entire project gained two Photograph of Eric Gill’s Mitzi Cunliffe at work in her studio on commendations in the Leeds War Memorial Sculpture in Man-Made Fibres, c.1956.
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