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That Is Solid Melts Into Teacher Resource Notes Jeremy All Deller That Curates Is Solid Melts Into Air A Hayward Touring Exhibition Mead Gallery 2 May—21 June 2014 Contents Adrian Street and his father, 1973. Photo © Dennis Hutchinson 2012. 3 An introduction to the exhibition 5 Who is Jeremy Deller? 6 Key themes 12 Links to the curriculum for KS2 and KS3 14 Knowledge and understanding Questions, discussions and activities to explore for both KS2 and 3 19 Exploring and developing ideas - follow up activities - KS2 and 3 23 Further links 24 Planning a trip to the Mead Gallery 2 An introduction to the exhibition I’m an artistic curator… In All That Is Solid Melts Into Air the artist Jeremy Deller takes a Artistic curators can put personal look at the impact of the Industrial Revolution on British a bit more of popular culture, and its influence on our lives today. The society we themselves in the show have inherited, our towns and cities, the social formations, cultural [than academic curators traditions, class divisions, inequalities of wealth and opportunity derive can]. This is a personal to an overwhelming extent from the age of the Industrial Revolution. wander, not a straight The exhibition combines contemporary music, film and photography line, more a with a vast range of 19th century images and objects. Bringing meandering, a sort of together past and present, and including some of his own work, Deller musing on something. shows us his unique take on cultural history. Jeremy Deller The title of the exhibition is taken from The Communist Manifesto of The Independent, 1848 by Karl Marx. All That Is Solid Melts Into Air is also an academic 18 December 2013 text written by Marshall Berman between 1971 and 1981. The book examines social and economic modernisation and its conflicting relationship with modernism. At the beginning of the 1900s, many artists and thinkers were excited by the potential for change - a utopian vision with new machines, cars, planes, newspapers, film and photography - all made possible by the Industrial Revolution. But the dreams of a better life had come at a price. There were dramatic changes in society during the Industrial Revolution. Populations in urban areas soared as people moved from the countryside to cities. Poor health amongst workers was commonplace as they endured harsh working conditions and long hours. There was an increase in pollution of the waterways, land and air from factory waste products. 3 In the exhibition we * John Martin’s apocalyptic painting The Destruction of Sodom and Gomorrah (1852). see, amongst other things: A documentary about Adrian Street, who escaped from a life of mining * to become a famous glam wrestler. James Sharples painting, The Forge - Sharples was a 19th century * blacksmith and self-taught painter from Blackburn. Links between heavy metal / rock music and the industrial towns that * many bands - Happy Mondays, Judas Priest, Black Sabbath - grew up in. How people’s lives were and are controlled in work by bells and clocks * - from a 19th century factory bell and clocking-in machine to a prosthetic grab with a microchip used for recording the removal of stock in Amazon warehouses. And an Amalgamated Engineers Union banner from 1890 is set against * a text message sent to workers on zero-hours contracts that reads: “Hello, today you have day off.” Heavy metal and rock musicians also feature in the exhibition, chosen by Jeremy Deller for their links to industry. Noddy Holder, lead singer with Slade, Shaun Ryder, frontman of Salford band Happy Mondays, and Bryan Ferry are all rock stars from industrial towns whose roots can be traced back through generations of workers in factories and mills. Shaun Ryder’s family tree is traced back to the early 19th century by Deller, showing generations of miners, millwrights, weavers and cloggers and revealing how deeply rooted he is in that landscape. Tony Iommi is the lead guitarist and songwriter in Black Sabbath. He lost the tip of one finger and part of another in an industrial accident in a sheet metal factory in Birmingham. To ease the string tension on his injured hand he detuned his guitar. This led to a change in his style of playing and he developed a new sound that became synonymous with heavy metal music. Rock bands such as Judas Priest, Black Sabbath, Happy Mondays and Slade were the products of the industrial towns their members came from; their music echoing the insistent rhythm of the factory floor and the smoke and lights of their live shows that of steel works. 4 Who is Jeremy Deller? Key features of his work * Often collaborative Strong political aspect * * Can be ephemeral i.e. resists being a commodity * Sense of ‘Britishness’ * Can be humorous Born in 1966 in London. Studied at Dulwich College, London; the Courtauld Institute of Art (University of London); completed his MA in Art History at University of Sussex. Met Andy Warhol in 1986 and spent two weeks at ‘The Factory’, Warhol’s studio in New York. Started making artworks in the early 1990s. In 1993, while his parents were on holiday (he was still living at home), he used the family home for an exhibition titled Open Bedroom. Won the Turner Prize in 2004, dedicating his award to "everyone who cycles, everyone who cycles in London, everyone who looks after wildlife, and the Quaker movement.” In 2013 he was selected to represent Britain in the Venice Biennale. Joy in People, a mid-career survey, opened at the Hayward Gallery, London, while Sacrilege, a bouncy castle modelled on Stonehenge, toured the country during the summer of 2012. 5 Key themes Robert Havell, Factory Children, 1814. Coloured aquatint engraving. ©Science Museum/SSPL The themes of All That The Industrial Revolution Is Solid Melts Into Air Work are: Time Music 6 Thomas Allom, Swainson Birley Cotton Mill near Preston, Lancashire, 1834. Pencil, pen, sepia and wash. ©Science Museum/SSPL The Industrial “From this foul drain the greatest stream of human industry flows out to fertilise the whole world. From this filthy sewer pure gold flows. Here Revolution humanity attains its most complete development and its most brutish; here civilisation works its miracles, and civilised man is turned back almost into a savage.” Alexis De Tocqueville on Manchester, 1835 “The society we have inherited, our towns and cities, the social formations, cultural traditions, class divisions, inequalities of wealth and opportunity – all derive ultimately from the Industrial Revolution. Within a 20 or 30 year [period] the Industrial Revolution just happens – there are no regulations [and] there is this trauma, the inversion of order. The earth is on fire [and] there are these hellish scenes on your doorstop. But it’s producing money for you …. It’s impressive but it’s frightening at the same time – you read accounts of people from France going to Manchester in the 1860s and they cannot believe what they are seeing. Then there is this moment, which I find interesting, when people take stock of what has happened and realise that they have probably let things happen too quickly and things have gone too far ….” Jeremy Deller 7 Within the exhibition, ‘The Industrial Sublime’ shows how contemporary artists were drawn to the terrifying beauty of the new industries. Around the time that John Martin painted The Destruction of Sodom and Gomorrah, the British parliament commissioned reports into living conditions in the new industrial towns. The investigators returned with devastating evidence of degradation and poverty. Photographers (wielding the latest technology) brought back from the industrial wastelands of Wales photographs of labouring women swathed in filthy rags, staring numbly into the camera. John Martin’s painting tells us much about the anxieties of the Victorian age – as the exhibition commentary explains, Martin painted the work in 1852, when the reality of what we were doing to our environment, our towns and to the labourers condemned to spend their working lives in mines and factories was beginning to sink in. John Martin. The Destruction of Sodom and Gomorrah, 1852. Oil on canvas . 136.3 x 212.3cm. Courtesy Laing Art Gallery, Newcastle upon Tyne (Tyne & Wear Archives & Museums) 8 Amazon Fulfilment Centre in Rugeley. Photos by Ben Roberts. Work Ben Roberts was allowed inside this Amazon warehouse (above right), but wasn’t allowed to photograph any employees (or ‘associates’ as Amazon label their workers) “however the first thing that I saw before entering the airport style security were the surreal life-size portraits of Adam Hoccom and Bev Horton extolling the virtues of working for Amazon.” W. Clayton, Iron Workers, Tredegar, Wales, 1865 Photographs. Courtesy Manchester Art Gallery, Manchester 9 Time Jeremy Deller compares the way time is used to oppress and control workers. The devices some warehouses strap to the workers wrist to track their efficiency and productivity is compared with some beautifully engineered timepieces from mills of the 1850s. One example is the old long case clock that presented ‘two faces’, one for the real time and the other connected to the water wheel. When the wheel did not turn quickly enough this indicated reduced production and workers had to catch up with the real clock at the end of the day. Motorola WT4000 This device (above right) is worn on the wrist by workers in warehouses, and similar items are used by Amazon to track the speeds of orders and consequently the efficiency of its staff. It calculates if you are falling behind schedule and sends a warning if this occurs. 10 Music Noddy Holder was born in 1946 in Walsall and went on to be lead singer in Slade. His family tree created for the exhibition reveals ancestors who were variously a: millwright, shoemaker, boiler cleaner, agricultural labourer, spin filer, washerwoman, curb and chain maker, buckle filer, key stamper, buckle stamper, chainmaker, coalminer, rail- way carriage cleaner, ironworker, puddler, forgeman, blacksmith.
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