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What you don’t see in ’s 1802 Left: Zanele Muholi, self-portrait is equally as important as what you Bhekezakhe, Parktown, do. No brushes, easel, pencil, engraving tools, Johannesburg, 2016; facing Morehshin page: William Blake, Portrait books or quills are visible to identify his trade, of William Blake, 1802 as was often the case in artists’ self-portraits in Allahyari

© COLLECTION ROBERT N ESSICK © COLLECTION ROBERT Opinion previous centuries. Instead, the artist – in his only known self-portrait, an intensely detailed What does ‘digital pencil drawing – faces himself, from the shoulders up, mouth slightly pursed, his thinning hair tousled. What remains in the memory of the colonialism’ mean viewer is Blake’s direct and penetrating stare, recalling his question in his poem ‘The Tyger’: to you, and how ‘In what distant deeps or skies/Burnt the fire of thine eyes?’ It’s apposite, of course, that Blake, do you respond to that great visionary writer and artist, political radical and prophet of revolution, should home How can we save space it with your work? in on his own eyes as the bearer of identity, as the very tools of his trade. Seeing, for Blake, was deeply interwoven with political engagement. in our cities for artists? What you choose to see – and, by implication, where your attention rests – says everything about the sort of world you choose to inhabit. A block of housing being built in east London will In most self-portraits, the eyes of the artist do double duty: first, observing themselves; not only benefit artists and the local community, second, observing the observer. While the but also provide a template for challenging the Blake self-portrait is first and foremost an act of self-scrutiny (you’d need to look that hard to market pressures that are pushing artists and capture those wisps of hair so precisely), it’s a low-income workers out of our cities. Director of public one too, one half of a dialogue in which Morehshin Allahyari is an artist, activist, can’t replace what was lost – what’s lost is they’re the ones that ought to have them. the viewer is invited to participate. In this way, Create London, Hadrian Garrard, explains how writer and educator. Born and raised in lost. My work is more a political gesture. The idea of digital colonialism self-portraiture sits at the junction between the Iran, she moved to the US in 2007. Her Inside each artefact, I embedded focuses specifically on how a lot of tech public and the private self. Gazing at one’s face in work deals with contemporary political, memory cards which contain all my companies based in Western countries the mirror in order to observe the wrinkles, folds Art can bring people together, galvanise bring such buildings back into public social and cultural issues. For her project research – PDF files, images, my email – Google Arts & Culture, CyArk, and more and lumps you see there is a performance of one local communities and be a catalyst for use, and in collaboration with their local Material Speculation: ISIS (2015-16), correspondence with scholars and – are using technologies such as 3-D of the most central philosophical conundrums of change. But not always: an unsettling communities. We still need to dig deeper, Allahyari used 3-D printing to recreate historians etc. I spent days and nights scanners and printers as ways of ‘saving’ all: what is – where is – the self? All self-portraiture irony is that, despite east London having however, if we are to find ways for artists 12 artefacts destroyed by Isis. Inside each, with the images of the artefacts and cultural heritage. When you look into this the highest concentration of artists in to be fully integrated into our cities. she embedded a flash drive containing confusing information that sometimes practice in more depth, however, you see Europe, studies show that you are less We have been talking to artists about her research. Her reconstruction of didn’t match up between an Arabic text that it’s actually just another version of likely to walk into an art gallery if you live London housing for many years. The Unknown King of Hatra is currently on and an English translation. Some nights the historical colonialism that we’re in parts of that area than anywhere else. incremental loss of studio buildings show in the exhibition ‘What Remains’ I had strange dreams with Ebu or King already familiar with from walking into, When I founded the arts organisation is bad enough, but with housing costs at IWM London, part of the museum’s Uthal in them. I felt connected to each of for example, the , where The power Create London in 2009 we were looking pushing artists around and out of the ‘Culture Under Attack’ season. the objects. I spent days 3-D modelling there are all these treasures from Middle for answers to this east London city, our attempts at making better A House for Artists, discounted rent and lifetime tenancies them with a team of students; days and Eastern, East Asian, South Asian and disconnection question through connections between artists and local Barking and Dagenham, in exchange for running a free daily I started working on Material Speculation: nights 3-D printing them, bathing them, African countries, a lot of which were ambitious projects outside galleries – communities start to seem a bit rendering of view from public programme in the community hall. ISIS in 2015 after the video of Isis’ cleaning them, shining them. I love them. basically stolen as part of the practice of Linton Road what better way to connect with local redundant. Complicating this further We’re happy to be working on the project destruction of the artefacts at Mosul I love them in a way that I haven’t loved colonialism and imperialism. When you audiences, right? Folly for a Flyover (2011), was the reaction to artist residents being with artist Grayson Perry, who is using Museum went viral. For the past decade, any other works of art I have created. think about the digital ownership of the of the a disused motorway undercroft that was kicked out of Hackney Wick after the 2012 his knowledge and experience to help I’ve been working at the intersection of They are part of my culture, my people, same material, people don’t really see it transformed into an outdoor waterside London Olympics, which put the final us think about building a community, art and activism. A lot of my work has my history. And I want to protect them. clearly. What’s happening is that a lot cinema, café and performance space by nail in the affordability coffin. Evictions as well as making a public work for the involved thinking about archiving as When I say ‘them’ here, think beyond of these companies and institutions are future [2015] Turner Prize winners were met with a quiet shrug by local project [supported by Art Fund]. Above right: portrait an art practice. I saw this video at a time this one project. Think about them as a 3-D scanning cultural sites and artefacts Assemble, was an early hit. In 2012, a year residents living in social housing who So, in exchange for a good, relatively of Morehshin Allahyari, when I was also doing a lot of work with whole series of other historical sites and and taking ownership of the digital data. after the 2011 London riots, we worked didn’t feel connected to this hermetic cheap place to live, this new community 2018; below: Morehshin Allahyari, Unknown King 3-D printing. It therefore made sense to artefacts in the Middle East. And when They only permit private access to the with artist Ruth Ewan and Frieze community of creative professionals. of artists will provide a service for local self-portrait of Hatra, 2015 me to respond to this event and to work I say ‘protect’, I mean that I want to material and make profit from it through Foundation to bring 200 teenagers to the Barking and Dagenham Council people. The Leader of the Council, Darren on reconstructing the artefacts that were protect them not only from Isis, but from copyright. If, for example, they go to Artists’ depictions of themselves can be complex Savoy hotel for a wild history lesson on approached us in 2016 with an idea to Rodwell, calls it ‘a better way to pay rent destroyed. I was not only coming to it all the tech companies in the West, and Lebanon and 3-D scan something, they expressions of the self. Ben Street explores the Peasants’ Revolt. We invited British build live-work artists’ housing, and we by being nice to your neighbours’. We from an archaeological perspective, but their colonialist technologies. own the copyright of that file. If the grime artist Skepta to a council garden talked about our interest in tackling how think this kind of active tenancy should from an artistic, political and activist I see these sculptures as time capsules, Lebanese government then wants that their enduring appeal to both artist and viewer party in Walthamstow in 2014 (now an artists are priced out and moved around. not be exclusive to artists, and hope this perspective. I selected 12 artefacts and, holding this knowledge for future scan, they can’t have access to it, because annual festival), and a heap of other Bringing together our learning, we’re project will seed desperately needed for a year, I gathered material on them. generations. In 2016 I released a folder it’s owned by whichever company. We things. These temporary projects were now building A House for Artists with the innovation in the UK housing sector that One problem was the lack of information online that contains all the research really have to question these practices, rewarding but fleeting. To really build council, as an alternative to the profit- can also respond to other needs, such about the artefacts themselves and for one of the objects, King Uthal, with as well as this notion of the universal. relationships we needed to be able to take driven property market. It upends two of as the spiralling public cost of adult social their history – they hadn’t been well Rhizome and the New Museum, New I don’t really believe in universal or the time to create forms of infrastructure the challenges facing the cultural sector care – something we are starting to see documented at all. I remodelled them York. This is freely available to everyone shared heritage in that sense. I want to make projects that could be sustainable in London: that local councils can’t afford in European cities where students are as accurately as possible based on the to download. I didn’t release the rest of us to take a deeper look at the language and more open to collaboration. to build or run community centres and housed with isolated elderly residents. limited images I had. 3-D printing is the files because I wanted to see how used and see the inherent complexity. We’re often asked to work with that artists can’t afford London rents. Artists can be pioneers, providing a tool that I think about beyond just people would respond, who might look at My work is about giving something back space-starved artists to occupy council- Scheduled to open in 2020, A House clues to ways of living for us all. What if technology for technology’s sake. I’ve them, and who might also try to 3-D print to the people whose cultural heritage owned buildings until they are sold or for Artists is a block of 12 flats for artists we could all provide some kind of public written a manifesto, together with [fellow the object. I’m really glad that I made that it actually is. rented as part of the painful effort by and their families, designed by the young service, work a bit less and live affordably artist-writer] Daniel Rourke, called The decision, because I’ve since become really councils to balance their books. Create architecture practice Apparata, with in the places we choose – wouldn’t that 3D Additivist Manifesto, considering the aware of what I term ‘digital colonialism’, zz ‘What Remains’, IWM London, to projects such as Open School East, shared studios and a community hall on be a nice thing? technology’s potential as a machine for and I want to give ownership of the 5 January 2020. iwm.org.uk, free to all Blackhorse Workshop, The White House the ground floor. The artist residents, half resistance and political thinking, but also digital files back to a museum or a © ZANELE MUHOLI. COURTESY STEVENSON GALLERY, CAPE TOWN/JOHANNESBURG AND YANCEY RICHARDSON GALLERY, NEW YORK NEW RICHARDSON GALLERY, YANCEY AND TOWN/JOHANNESBURG CAPE COURTESY STEVENSON GALLERY, © ZANELE MUHOLI.

© APPARATA © APPARATA and Rabbits Road Press all aimed to of whom are local to the area, will get createlondon.org PORTRAIT: © SARAH WANG. UNKNOWN KING: COURTESY THE ARTIST AND UPFOR GALLERY ARTIST THE KING: COURTESY UNKNOWN WANG. PORTRAIT: © SARAH considering its limitations. Of course, you cultural space in Iraq, because I think Interview by Anna McNay

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Below: St Fagans National Funded Museum of History, , Art Fund Museum of the Agenda Year 2019 winner

Making connections Gift a National Art Pass this Christmas

The growing The last order date to buy National Art Passes with guaranteed delivery before , London other link connecting them is The English House (1904) wallpapers and textiles. Surely that’s aesthetically strength of Christmas is 19 December. by German architectural historian Hermann Muthesius. far removed from the clean lines of the Bauhaus? See artfund.org/pass or His three-volume book singles out Morris’ Red House as RI: The aesthetic on first impression is quite different; contact supporter services Designing with the first example of a complete work of art with the one of the challenges of the show is to help people see the Student on 020 3757 9772 for architectural exterior, interior and all the objects in it the sympathy between the different groups. The Bauhaus more information. working together. Gropius knew Muthesius personally, was a school, not an image, not an aesthetic. We all have materials for life so Morris was known and appreciated in these circles. in mind the clean-lined architecture, classic ‘circle, Art Pass triangle, square’ imagery and simple shapes. But actually, New membership Art Fund Museum HJ: Morris and the Bauhaus are both associated with a lot of the things made in this early Weimar period are rates from 2020 of the Year 2020 Pioneers: William Morris and the Bauhaus strong ideas about design and the way things should quite different. There are ceramics, woodblock print, The ongoing success of 19 October to 26 January 2020 be made. How do they relate in the exhibition? figurative drawing and even figurative textiles. Although Art Fund’s £5 Student From 1 January 2020, annual Applications for Art Fund A new exhibition at the William Morris Gallery (which RI: With the Bauhaus we focus on the earlier Weimar this seems counterintuitive, the flatness of Morris’ membership subscription 2020, at the time of writing was in the middle of a campaign period of 1919-25 when handwork and craftsmanship wallpaper and imagery has been associated with the Art Pass is helping more rates will be as follows: the annual prize which awards on Art Fund’s crowdfunding platform, Art Happens) are more important. The exhibition looks closely at the flatness of Modernism: he was insistent that if you were young people engage Individual £73 £100,000 to one exceptional will show the relationship between the decorative ceramics workshop. Gerhard Marcks, the master, was designing for a 2-D surface, like a wall for example, then Under 30 £45 winner, for achievement and late-Victorian Arts and Crafts movement – influenced extremely interested in principles of craftsmanship. your design should also be 2-D. with museums and Plus One £40 innovation in museums and by designer William Morris – and the pioneering, When Gropius redirected the school, prior to its Double £110 galleries across the UK, open Modernist Bauhaus school of art, architecture and relocation to Dessau, there was a move away from HJ: Morris had very strong political and social ideals. galleries, as Rachel Family £115 on 5 December. Past winners design founded by Walter Gropius, in Germany, in 1919. craftsmanship, towards technology. Marcks was very Can we see a connection on that level as well? Mapplebeck highlights See artfund.org/pass or of the prize include St Fagans Curator Roisin Ingleby spoke to Hettie Judah about the disappointed. The focus on craft and an in-depth RI: There is no clear line that runs through it, but there contact supporter services National Museum of History, connections between the two design groups. understanding of material comes out very strongly in the are huge similarities in the way both approached design on 020 3757 9772 for updates. Cardiff (2019) (pictured below), early years of the Bauhaus. That personal knowledge of and politics as two sides of a coin. In both groups you see St Ives (2018), the Hettie Judah: How did the idea of linking materials is something that can be traced back to Morris. the idea that the arts and good design should be available Hepworth (2017), William Morris with the Bauhaus come about? He and his circle were keen that you could not design to everybody and should not come at the cost of people’s Latest Art Happens and the V&A, London (2016). Roisin Ingleby: Architectural historian Nikolaus Pevsner anything if you didn’t know how to make it. Morris was livelihoods and happiness. Morris was very actively campaigns Museums can apply at artfund. wrote the book Pioneers of the Modern Movement about hands-on with the way he designed and made: he would political and took part in demonstrations and lectures. org/museum-of-the-year Morris and the Bauhaus in 1936. The idea that the Arts immerse himself in a particular medium, whether it was Gropius at the Bauhaus was actually keen not to be Since July, two campaigns to and Crafts movement had a huge impact upon the book printing, tapestry or wallpaper. Morris didn’t explicitly involved in politics, but the Bauhaus was support exhibitions, which were Bauhaus and Modernism does have precedence, but this completely oppose designing or manufacturing with repeatedly dogged with people in more right-wing run through Art Fund’s free Welcome support is the first time in the UK that an exhibition has looked machinery, as long as it didn’t compromise the integrity societies writing them off as ‘communists’ and ‘lefties.’ crowdfunding platform for for infrastructure closely at this relationship. of the people making it, or the quality of the product. Gropius realised that any direct association with politics museums, Art Happens, have When both groups designed a product they had in mind would imperil the school but as a social and educational successfully reached their Art Fund welcomes the HJ: Among the founders of the Bauhaus, was there an how it could be made as simply and cheaply as possible experiment, both groups would recognise the idea of targets. These are London’s announcement made in the awareness of Morris and the Arts and Crafts movement? and they based their designs upon that premise. designing for the world that you want to live in. William Morris Gallery, which autumn by the Department RI: Definitely. Walter Gropius said he was indebted to It’s a tough time for students. University £5 Student Art Pass to help museums Clockwise from above: However, it is not simply the discounts directly to them. The newly developed raised £15,623 for its exhibition for Digital, Culture, Media and [John] Ruskin and Morris. Ruskin had been translated HJ: Morris founded the Society for the Protection of wmgallery.org.uk fees have never been higher, and students connect with this audience and enable Art Fund student on exhibitions and entry that are website studentartpass.org has a quick ‘Pioneers: William Morris and Sport for plans that will include into German relatively early, so his writings were in Ancient Buildings and was associated with the Pre- Free to all, 10% off in shop and café are graduating with, on average, £50,000 students to actively visit museums by members visiting appealing to this audience; there is a and easy sign-up process, inspires the Bauhaus’ (to 26 January); a £125m fund to go towards exhibitions and TABLE: COURTESY THE CHELTENHAM TRUST AND CHELTENHAM BOROUGH COUNCIL. POINT-PAPER DESIGN: COURTESY WILLIAM MORRIS GALLERY, LONDON BOROUGH OF WALTHAM FOREST WALTHAM OF LONDON BOROUGH WILLIAM MORRIS GALLERY, DESIGN: COURTESY POINT-PAPER COUNCIL. BOROUGH AND CHELTENHAM TRUST THE CHELTENHAM COURTESY TABLE: circulation by the beginning of the 20th century. The Raphaelites; his design endures as botanically inspired with National Art Pass ARCHIV DER MODERNE WEIMAR, COURTESY BAUHAUS-UNIVERSITAT WORKSHOP: GLASS PAINTING 2019. BREMEN © DACS COURTESY GERHARD MARCKS HAUS, MARCKS (BOTH): of debt, with many working part-time to reducing the cost barrier. To subsidise real desire to connect more closely with students to use their pass to visit more and Victoria Art Gallery, in Bath, the maintenance of regional collections around the meet their rising living costs and support the pass and make a wider programme UK: ‘Pehchaan: Art museums. Three-quarters of current cultural venues and exhibitions across which raised £12,049 for its museums and libraries. This Below: William Morris, table, In both groups you Above left: Gerhard their studies. Art Fund’s own research of opportunities available to students From Another India’, Student Art Pass holders are interested in the UK with content on the latest things exhibition of iconic colour will help address the urgent 1856; right: point-paper design Marcks, small altarpiece, has shown that, more often than not, the Art Fund has depended on the generosity Tramway, Glasgow, the paid vocational opportunities in the to see and do, along with the discounts posters, ‘Toulouse-Lautrec and need of the old and crumbling for Dove and Rose silk and wool see the idea that the 1920; left: unknown biggest barrier to young people visiting of several private funders including the 2016; ‘Elizabeth Price: cultural sector that Art Fund is offering. they’ll receive, and gives them access to the Masters of Montmartre’ infrastructure of some of double cloth, 1879 (detail) photographer, glass museums, galleries and historic places is Stavros Niarchos Foundation and the FELT TIP’, Nottingham Current opportunities include being all the latest paid opportunities. (15 February to 26 May). the UK’s museum buildings. arts and good design painting workshop, Contemporary, 2019; cost. More encouragingly, it also revealed Roger de Haan Charitable Trust. Students part of the first youth panel at the Royal Alongside this, a dedicated Instagram Bauhaus Weimar, 1923; National Museum should be available right: Gerhard Marcks, that two-thirds of British students – in full-time higher education can sign up Cardiff, 2017 Albert Memorial Museum & Art Gallery account motivates museum visiting and to everybody vessel in the form of some one million people – would be annually, during a set period, and, just in , which will help shape the connects culture-seeking students with a head, 1919 interested in a student version of Art like National Art Pass holders, receive free organisation’s exhibitions and events a like-minded community. As Kaye says: Fund’s popular National Art Pass. or reduced-price entry to more than 240 to engage younger audiences, while the ‘There is still a perception among young Engaging 18-to-25-year-olds with art museums, galleries and historic places nationwide ARTiculation programme is people that museums and galleries aren’t and culture is also essential to the future across the UK, and 50 per cent off major looking for university students to mentor places for them. One student we spoke to success of our UK museums and galleries. exhibitions. Sarah Kaye, Art Fund’s senior and support schoolchildren in public felt they needed to wear smarter clothes However, with limited resources available, marketing manager for students, says: speaking about art and architecture. before visiting a contemporary art gallery. despite healthy visitor numbers overall, ‘The response has been fantastic. We now Three thousand students have applied for We want to encourage students to see research by the Audience Agency has have a cohort of 24,000 student members these and other paid opportunities so far. museums as inclusive spaces which are shown that museums are struggling to from universities across Britain who are The Student Art Pass has helped Art there for them to visit and enjoy.’ evolve to meet the needs of this young studying everything from fine art to Fund understand this young audience audience, with the result being that 41 per medicine. We’re hoping to see this in a new way, not least in gaining insight zz All those eligible for a £5 Student Art cent of visitors are over the age of 55. number rise even higher this year, to help into their high digital expectations and Pass can sign up, before 15 December,

GLASGOW AND CARDIFF: PHOTO © ANDY SMITH. NOTTINGHAM: PHOTO © MARC ATKINS/ART FUND 2019 ATKINS/ART © MARC PHOTO NOTTINGHAM: SMITH. ANDY © AND CARDIFF: PHOTO GLASGOW In 2017 Art Fund launched the first more young people see art more often.’ need for an online offering that speaks at studentartpass.org FUND 2019 ATKINS/ART © MARC PHOTO ST FAGANS: PICKERING/ART FUND 2019. © HOLLY ART MAP: PHOTO

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