Wednesday, 23 November 2016

The Preservative Party's Top Ten Tips for Curating an Exhibition

Ellie Smith and D’arcy Darilmaz from the Leeds City Museum youth curators group the Preservative Party share their tips for curating an exhibition!

The Preservative Party, pictured at the opening of the In Their Footsteps exhibition (2016).

1. Get to know the people you’re working with
Play pictionary and eat cake!

2. What is your exhibition about?
Decide on the purpose of your exhibition. Do you want it to be formal and factual; fun and exciting; or emotionally evoking. Pick an interesting and relevant topic but also something feasible. Make sure you'll have enough objects and information to fill an exhibition.

3. Select objects and stories to display in your exhibit
Make sure to pick are a few key objects that really stand out.

4. Construct an identity
You need a name and initial design ideas. If you have the budget to hire designers write a design brief to send to out. The deigners will send back their initial ideas. From this you can select your design company and begin working with them to create the 'look' of your exhibition. Your final design should show what your exhibition is about and appeal to your demographic.

5. Research, research, research!
Explore the history of your objects.

6. Layout/curation
Decide whether you would like a led path which instructs visitors to go a certain route; or an open space. You will need to plan where all of your object cases, wall mounted objects and panels will go. Make sure there are enough display cases to fit your objects in. You may want to categorise your objects into sections. Your exhibition must be accessible to all members of the public, so plan enough space for wheelchairs and prams to move through with ease.

7. Write your object panels
All your text should read in the same voice so decide what tone you would like. Be sure to have a word limit as large amounts of text might intimidate your audience.

8. Interactives
Come up with some fun ways to engage your public with your exhibits. Try to include interesting pieces of research which you gathered that didn't make it onto the panels.

9. Install
Bring your creation to life! Learn how to use a paint roller. You'll need one! Decorate the gallery and arrange your objects.

10. Opening night
Plan drinks, caterers, speeches and performances. Open up your exhibition for a private viewing for all those invited to the night.

Find out more about the Preservative Party and how to join.



Tuesday, 8 November 2016

A Kitchen Cabinet of Curiosity

 Pamela Crowe explores the contents of a 1950s kitchen cabinet
and the origins of museum collecting



The wooden space-saving kitchen cabinet at Leeds Discovery Centre (pictured above) dates from the mid-twentieth century and incorporates a fold down enamel worktop, ironing board and a series of green painted cupboards and drawers to store cutlery, table linen, tableware and food. It sits at the far end of the main corridor in the Discovery Centre, just slightly beyond the Store entrance. To find it you must postpone entering the store or remember to double back before you leave. 

Today we display a collection of food packaging from our social history collection within it. I’ve chosen three of my favourites items.


Dried eggs used during 1940s-50s food shortages

Label: 'This can contains 12 Eggs'
This is a small cylindrical gold tin containing 12 pure dried whole eggs in powdered form supplied by the United States and issued by the Ministry of Food for distribution in Great Britain as a response to a wartime shortage of fresh eggs, c.1940-50. 

Users were instructed to store them away from anything with a strong smell and when required, to mix one level tablespoon of dried egg with two tablespoons of water making sure to “work out lumps with a spoon against the side of the bowl”. 

The egg had to be used immediately after mixing and was most suitable for scrambled eggs or omelettes. Uptake of the dried eggs was slow and the Ministry of Food issued posters to promote their use.


Co-op Ground Ginger
Label:
 'Co-op Ground Ginger'

Dating from the late 1960s, this small jar of ground ginger features the distinctive ‘cloverleaf’ Co-op logo on the side. In 1968 The Co-operative Working Society (CWS) worked with the co-operative societies around Britain to rebrand under a single Co-op logo in a move to unify branding across all the retail shops. 
Stores that wished to use the new logo had to undergo refurbishment. In 2016 The Co-operative Group announced that it would return to a refreshed blue version of the cloverleaf logo.


Label: 'For the relief of Asthma, Hayfever & spasmodic affections of the respiratory tract'

Potter's Asthma Remedy
Potters’ inhalation products were well known and widely used throughout the early to mid 20th Century. Users were instructed to inhale a heated teaspoonful of the powdered herbal remedy on a daily basis. 

This product continued to be manufactured until 1988 when the UK’s Department of Health refused to renew the product licence. Recent research has shown that the products may in fact have posed similar health risks to smoking.


The Cabinet of Curiosities
Back in April 2015 I gave my very first tour of the Discovery Centre. Nerves aside, it was great fun but I recall spending too long talking about this 1950s kitchen cabinet. It still draws me in though, I think of it as a Kitchen Cabinet of Curiosities, the Discovery Centre's Küche Wunderkammer (Kitchen Wonder Cabinet).

Wunderkammer (translated, Wonder Chamber or Room) is a German term dating from the sixteenth century to describe a personal collection of extraordinary objects that was amassed by noblemen, men of science and the merchant class, cabinet then being a term for a room rather than a piece of furniture.

Drawers opened enticingly at Leeds Discovery Centre
From Renaissance times through to the late nineteenth century, men and women of stature could exhibit their knowledge and status by assembling all manner of exotic natural wonders, art, treasures and items from distant lands and cultures. 

These collectors believed that by identifying invisible and visible similarities between the objects they could arrive at a better understanding of God's purpose and man's place in the universe. 

Over time the significance of these Wonder Chambers grew, private spaces became public with the larger royal and aristocratic collections developing into grand public museums and institutions. Elias Ashmole (1617-1692) donated his library and collection to the University of Oxford and these formed the foundation of the Ashmolean Museum at Oxford, founded in 1683. 

Leeds Discovery Centre stores the Leeds Museums and Galleries collections

The awesome and the ordinary
It's not a huge leap to view the entire Discovery Centre as a vast Cabinet of Curiosities, after all we're still trying to make sense of our universe and our place within it. The most common reaction from visitors entering the store for the first time is one of awe and my own brain still emits a little 'wow' each time I enter. Our collections comprise both the familiar and unfamiliar: the pleasure in viewing the bones of a dodo or 4.5 billion year old iron meterorite can be met in equal measure by the sighting of a familiar washing machine from Grandma's house or a gold tin of egg powder.

The breadth and of depth of these collections provide each of us with an opportunity (conscious or otherwise) to evaluate our own very personal past within a greater, complex shared one - just as the Renaissance collectors sought to do with their Wunderkammers.
 

By Pamela Crowe, Volunteer Tour Guide and Blogger, Leeds Discovery Centre


Further Reading/Sources:
Tate.org on Cabinets of Curiosities 

British Library Learning: Cabinets of Curiosity
Cabinet of Curiosities and The Ashmolean Museum



Leeds Discovery Centre Store Tours
Come and explore our collections at the Leeds Discovery Centre every Thursday at 11am and 2pm in our Store Tours. For more information about visiting our store, please visit our website. 



Tuesday, 1 November 2016

Joash Woodrow – A Hidden Life in Pictures

Joash Woodrow - ‘Three Figures’ c.1965

At the turn of the millennium, Joash Woodrow’s life’s work lay undiscovered in a house in Chapel Allerton in Leeds. For forty-five years he had lived and worked there, making art with a singular passion that eclipsed more everyday concerns.

Woodrow lived alone, becoming increasingly reserved after experiencing a mental-health crisis as a young man. For a long time however, he was content and purposeful in the pursuit of his artwork. Paintings, drawings and sculptures blossomed and came to rest in teetering piles, crowding every corner of his house.


Joash Woodrow -‘Female with Red Lips, Male in Black’
c.1965
Woodrow grew into old age, surrounded by his art, until a house fire tipped his life’s balance precariously. Supported by his family, Woodrow agreed to move into sheltered accommodation, on one condition: his family must promise to take care of his art.

Never before exhibited, few had ever seen these artworks. His brother felt these paintings and drawings were almost as private to Joash as a diary. Now they were blanketed by dust; their colours obscured by smoke damage.

Many of the canvases were stacked so high they had become stuck together. The family’s promise to rescue this huge body of work posed a daunting challenge. Only a chance discovery would kick-start the chain reaction that snatched Joash Woodrow’s artwork from the brink of obscurity.

A year later, artist Christopher P. Wood was browsing a second-hand bookshop, when he stumbled across every book-hunter’s dream, something more unique than the rarest first edition. The issue of the Victorian ‘Magazine of Art’ that he picked up was intriguing in itself, but this copy had belonged to Joash Woodrow, who had reworked every page by hand. Using paint, collage and drawing, Woodrow had reinvented the old magazine as a book of completely original artworks. They were funny, clever and brimming over with personality.

Wood bought the unusual artefact and showed it to the conservator and gallery-owner Andrew Stewart, whose interest was piqued. Stewart contacted Woodrow’s family, who were shocked to discover they had accidently sold one of Joash’s artworks and explained the dilemma of the houseful of art that needed a new home.

Arranging to visit, Stewart found portraits, still-lifes, and landscapes of contemporary Leeds. Vividly rendered, their lavishly thick paint clung to all manner of rough-hewn supports. From sackcloth to advertising signs, anything Woodrow came upon could become part of an artwork.

As these unconventional pieces were brought out and painstakingly cleaned, brilliant colours emerged, to reveal a style that combined expressive vigour with insightful clarity of purpose. Woodrow’s work showed a deep knowledge of 20th century artistic movements, while his exuberantly direct approach animated everyday subjects in a way all his own.

Joash Woodrow’s first solo exhibition was arranged by 108 Fine Art Gallery in Harrogate in 2002, while Leeds Art Gallery was the first public gallery to show his work soon after. Further exhibitions crystallised Woodrow’s reputation as one of the great undiscovered talents of 20th century art. Though his health had become fragile, Joash Woodrow attended one of the first exhibitions of his own work, just a short time before his death in 2006.

Joash Woodrow -‘Leeds Landscape with Chimneys’ c.1980

Some of Woodrow’s drawings are now part of Leeds City Art Gallery’s collection and they span a wide period of the artist’s life. In my role as a volunteer cataloguer, I have been intrigued to study Woodrow’s drawings. He drew constantly - amongst the discoveries in Woodrow’s house, the kitchen table alone was submerged beneath over 1000 drawings.

In other ways Woodrow is enigmatic. He left little writing, joined no artistic groups and hadn’t attempted to exhibit his work since the early 1970s. Without these familiar building blocks it can be challenging to fit someone into a conventional art history, but Woodrow’s drawings give us a first-hand account of places he visited, people he saw and what was on his mind. This short series will highlight the illuminating details of Woodrow’s life and work that these drawings capture.

By Liz Kay, Volunteer Cataloguer, Leeds Art Gallery.




Wednesday, 26 October 2016

Childhood in the collections: New study days at Abbey House Museum




Next month we will be holding our first ‘Childhood’ study day at Abbey House Museum.

The day itself will be split between talks and presentations, handling sessions from the museum collections, and gallery tours – with an introduction to a variety of topics around the theme of childhood.

Researching for this day has been a lot of fun – with so many different avenues to explore and so many possible topics to consider. That has, however, also made it difficult to decide what we should include. For example, talking about the different types of schools in Leeds over the last 150 years is a massive subject – with so many changes to education over the years.

We will have a closer look at Reformatory schools in the area with a little help from Lucie Wade, PhD student at Leeds Beckett University, who will be coming to talk about some of her research, and there will also be a chance to browse images of a variety of schools in the area from the museum collections, including a few images from Leeds Children's Day.

Discover historical toys and games!

Not everything about childhood revolves around school, so we will also have a little look at toys and games, and how they have and haven’t changed over the years, with a chance to handle a few examples from our collections.

 We’ll also talk about the working life of children, particularly in the nineteenth century, including the factory children and the campaign for improvements to their working conditions by people such as Richard Oastler.

Book a space:

If you fancy joining us on 17 November, there are still a few spaces available. The day runs from 11am - 3pm, and costs £10 per person including lunch in the Gatehouse Café.

To book, either give us a call on 0113 3784079 or email us at abbey.house@leeds.gov.uk. If you can’t make it this time, we will also be running it again on 27 April 2017.




Wednesday, 28 September 2016

Matthew Murray's Beam Engine

On 27th December 2015, along with many nearby homes and business, Leeds Industrial Museum suffered its worst flood since records began. As part of the clearing up process it became increasingly clear that one of the badly affected ground floor storage areas at the Museum held an object in several pieces that had some question marks hanging over its identity. Following the initial clean up of the residual silt and flotsam washed into the museum site, we brought in specialist industrial machinery contractors to begin the process of treating the objects hit by the Boxing Day deluge.

By one of those strange co-incidences that seem to be a daily occurrence in working with collections, around the same time we had received a request from BBCs Antiques Road Trip to film any objects we had relating to pioneering Leeds engineer Matthew Murray.  Murray is probably best remembered for his achievement in developing what is widely regarded as the first commercially successful railway locomotive in the world for the Middleton Railway. 

A search of our collections database revealed several items including a brass lubricator recorded as having a connection to a beam engine by Matthew Murray 'at Queen St, York'.  An exchange of emails with the National Railway Museum revealed that the beam engine in question was listed in the catalogue for the Queen Street Museum, a predecessor to the current National Railway Museum.  The entry made interesting reading, especially its mention that the engine had powered sawmilling machinery at the Great Northern Railway carriage repair workshop at Kings Cross station engine shed.

Matthew Murray's model of 'Salamanca', the first locomotive to run on Leeds' Middleton Railway, patented in 1811

 
This key reference gave us more to go on.  Further database and file work led us closer to the probability that the large cast iron components lying in our ground floor store were indeed the engine designed by Matthew Murray.  Delving into the files, the journey of the object was confirmed.  This was indeed Murray's engine.  In 1966, as the displays at the old Queen Street museum were being prepared for clearing - and no space had been allocated at the new Leeman Road Museum - British Railways contacted Leeds Museum.  Curators at Leeds were initially reluctant to acquire the engine and little further happened until 1972, when on being asked for a second time, they agreed to accept the engine. 

Fast forward to 1979, and Leeds Museums finally took delivery of the object in question. Frustratingly, the files go rather quiet in recording what was being done with the engine following its arrival at Armley Mills, however it was clear that it had been at least partially erected for display.  Just as frustrating, next to nothing was recorded of the engine being dismantled again, presumably in order to improve a blocked access route.
 
In yet another co-incidence, on the first day of public opening after the flood, we were visited by a Mr Paul Murray Thompson with his brand new book 'Matthew Murray (1765-1826) and the Firm of Fenton Murray (1795-1844)'.  We were able to show the beam engine components to Paul, which set him on the trail to track down more details of the object's history.  Amongst the evidence gathered by Paul was an article from the Yorkshire Evening Post from 1926 highlighting the engine's 115 years of continuous use.



In July, as part of the post-flood action plan, we moved the Murray beam engine components from their previous location to a dry and secure store and laid the components out in a way that would help explain the construction of the object.  Up to this point, no usable image of the beam engine in its erected state had been traced.  However, as part of another project, Chris Sharp, our recently appointed Assistant Curator of Community Engagement, has just identified a good quality image of the engine - probably dating from the early 1980s - in its largely assembled state.

The four vertical columns of Murray's beam engine in their new store
 
Sections of the Beam Engine in their new store


Re-assembling the engine to display condition is undoubtedly likely to be a long and complex process.  But we have made great strides in a short time in firmly identifying the object, securing good storage and pulling together contextual material to enable us to set about the task as resources allow.  The name of Matthew Murray, one of Leeds most innovative engineers, is currently enjoying a well-deserved renaissance. We hope that Leeds Industrial Museum can make its contribution to telling his story.

The Murray beam engine in near-assembled state at Leeds Industrial Museum, probably in the early 1980s



 






Tuesday, 27 September 2016

Museum Outreach: The power of interesting things


Learning Officer Andy reveals how museum objects can become part of the recovery process for children in hospital


At my last visit to the Leeds General Infirmary Learning zone, where I do museum outreach with children who are in hospital long term, I had one of my best experiences so far as a Museum Learning Officer.

I spend time with the children in the learning rooms, if they are able to make it, and then go to the wards with objects and do bedside sessions with those children not able to make it.

One child, A, was leaving the hospital to go home that evening. The staff from the Learning Zone said that he was 13 years old and had challenging behaviour and profound learning needs. They told me to explain carefully how he was to behave round museum objects. I felt some slight trepidation. When we got to the ward he was not there, then we heard loud screaming.

“That’s A, having his IV removed” said the staff member with me. My trepidation became a little more than slight at this point.

When A came back to ward he was clearly upset and crying a lot. The first object I showed him was a kaleidoscope, he had not seen one before and was mesmerised by it. The crying stopped instantly! He politely asked if he could look at the other objects I had and was very gentle with them without me having to explain how to handle them other than saying that they were very old and please be careful with them.

Andy (centre), pictured at Leeds Discovery Centre
He was very taken with the printing block from Hunslet Locomotives, being a 13-year-old boy and into trains. I explained that we have a museum in Armley with trains. As we were high up and had a good view out the hospital windows to the east, I pointed out the spire of St Michaels Church and tracked left to where Armley Industrial Museum is, “There is the museum. Why don’t you visit with your mum when you feel up to it,” I said. He ran off to tell his mum, and that was the end of that session.

From worrying that this session was going to be a challenging one to in fact being one with a polite, attentive and gentle child I put down to the power of interesting things. I am a firm believer that handling interesting things can aid in the recovery of many ills.

Andrew Kyrover, Learning and Access Officer, Leeds Discovery Centre