Posts by sfletcher

During the pandemic, the Art Collection was successful in acquiring two new prints from the Derbyshire SLS (School Library Service) deaccessioning scheme, co-ordinated by Buxton Museum & Art Gallery. We received works by artists Brendan Neiland and Michael Stokoe, complimenting prints we already held by them. The works add to our modest but strong collection of regional printmaking. Art Collection Intern Cami O’Hagan finds out more about the artists & their work below.

Celebrating British Printmaking: The Art Collection acquires works by Brendan Neiland and Michael Stokoe

Art Collection Intern Cami O’Hagan reflects on the Collection’s recent acquisitions and influential lives and work of these contemporary post-war artists, while also uncovering some interesting visuals.

Cityscape (1981) by Brendan Neiland and Wave Under Nine (1969) by Michael Stokoe were originally part of the Derbyshire School Library Service, which closed in 2018 and had to re-home over 2000 items. Now given a new home in Salford, taking into consideration the earlier selection history of British painting, photography and printmaking these artworks are ideal additions to the Collection’s ever-growing printmaking strand.

Both Neiland and Stokoe have had impressive careers, spanning over five decades through many era’s within British history – these culture changes I believe can be seen through the aesthetic shifts in different artwork series by each artist. Predominantly producing through the creative avenues of painting and printmaking, these two artworks showcase a small portion of Neiland and Stokoe’s remarkable and dedicated craftmanship within the sub-medium of screen printing.

Brendan Neiland

Born in 1941 Lichfield, Staffordshire – in 1962 Neiland studied at Birmingham College of Art until 1966 where he then moved to London to embark on his academic journey at the Royal College of Art, as stated in a Q&A session with Brook Gallery this is where he developed his famous spray gun technique. (Brook Gallery & Neiland, 2015)

Widely known for his paintings and screen prints of the modern metropolitan architecture. In Millbank (1974) – one of Neiland’s earlier screen prints first acquired by the Art Collection, this piece measuring 96 x 77cm highlight’s the artist’s signature aesthetic in capturing reflections and refractions of high-rise buildings, giving a new dimension of reality to his viewers.

Cityscape, much like Millbank is a large screen print showing the complexity of urban spaces through mirrored glass, informed by a grid-like frame – I believe this print highlights the influence of photography and lighting within Neiland’s process. The intricate details in playing with the light and shadow within the mirrored glass of these buildings for example, in the lower right corner there is a Gordon’s gin bottle incorporated into the reflection of the building. In my opinion, this is Neiland’s approach to including an element of popular culture into his artwork, possibly hinting at the nation’s favourite alcoholic beverage in the 1980’s?

Neiland’s approach to documenting the essence of the city landscape has prompted me view these large megastructures through a different lens. By including building structures that many often perceive as harsh and rigid, Neiland’s choice of framing and light colour tones adds a softness to the artworks – creating space for the overlooked aspects of city life.

Michael Stokoe (1933-2021)

Michael Stokoe was born in London, 1933. He studied at St. Martins School of Art from 1953-57 where he was exposed to and influenced by the post-war British Art scene, and the rise of modernism. Stokoe had a profuse career, he worked in the marketing and advertising industry after finishing his education. Alongside working in marketing and advertising, for over thirty years he taught at the Ravensbourne College of Art and Design as a senior lecturer.

Having gained major recognition in the earlier half of his career for his pioneering approach to abstraction within his artworks – heavily focusing on geometric shapes, lines and colour. Stokoe’s technical skills and aesthetics have contributed heavily to the Op Art movement. Stokoe’s paintings and prints have been acquired in world renowned collections such as V + A museum, Government Art Collection, United Kingdom and the Bibliotheque Nationale, Paris.

Wave Under Nine is a 48 x 43cm screen print comprising eight perfectly round blue circles and one turquoise oval shaped circle embraced by a deep red background. In the lower section of this print, a line which is curved central to the oval shape which adds an element of movement within the piece. The beige tone reminds me of sand within a desert landscape, the turquoise oval might possibly represent the moon appearing against the red sky just after sunset. It is clear that Stokoe’s primary visual concern is form and colour, the preciseness of the circular shapes in my opinion pushes the viewer to engage with the artwork on a deeper level. Wave Under Nine has encouraged me to think more comprehensively, regarding the infinite possibilities an artist has when exploring colour and form through screen printing, in addition to how we as an audience may view the artwork.

On a final note, reviewing these recent acquisitions has made me reflect on my time as a student at the University of Salford; how within the last three years Manchester and Salford skylines have changed quite drastically. Since starting my degree in 2021 and graduating in July of this year – I have witnessed the birth of new skyscraper apartment towers, new concert arenas and the re-development of historic buildings. Although Cityscape and Wave Under Nine are both disparate regarding the intended visual outcomes, from the mirrored urban landscape to the geometric shapes, and abstract form and colour – to me these artworks symbolise how places/locations can feel or be perceived in a different format.

As someone who also produces through the medium of screen printing, I am compelled to consider how we as artists and practitioners can find the hidden meanings and connections to the external elements of our own personal lives and also within the collective experience. Whether its abstract or landscape art, Neiland and Stokoe’s work in my opinion, should prompt us to think about how our surroundings/landscapes are constantly changing in the North West of England.

By Cami O’Hagan

Reference List

Brook Gallery, & Neiland, B. (2015, October 16). Brendan Neiland Q&A Snippet. YouTube. https://youtu.be/d3F5LnbxMi8?si=O8IOK2LQ0Jz-8qUy

Hi I’m Cami O’Hagan and I am over the moon to be working with the University of Salford Art Collection team as a Curatorial Intern. Recently having graduated from the BA (Hons) Photography programme in July of this year, I am now able to fulfil my professional aspirations in developing the curatorial side of my practice, with the support of the amazing members of this team; Curator Lindsay Taylor, Assistant Curator Stephanie Fletcher and Team Assistant Sam Parker!

I relocated to Manchester over three years ago to begin my academic journey at the Salford School of Arts, Media and Creative Technology. Born and raised in Belfast, Ireland by two parents who grew up during The Troubles – my work is profoundly rooted in socio-political issues within the UK and Western World. Completing my bachelor’s degree has shaped my decision in wanting dive deeper into the ‘behind the scenes’ of what it means to work in museum/gallery environment as an individual, but more importantly as a team.

This opportunity in working with the Art Collection has helped me navigate the daunting period that most people face when transitioning from student to graduate, I couldn’t have asked for a more rewarding and insightful experience. Beginning this internship in July, I have already gained a deeper insight and new perspective into how one handles and engages with a museum/gallery collection. Expanding my knowledge and skillset within the different branches of curatorial practices; my first responsibility in this role consisted of creating holistic blog posts on the Collection’s recent artwork acquisitions from the Derbyshire SLS/Buxton Museum (read more here) and also being given autonomy over selecting the ‘Artwork of the Month’ (coming soon!)

Additionally, to completing research and writing tasks, part of my role has also involved supporting the curation of the Art Collection’s most recent New Adelphi Exhibition Gallery exhibition ‘CATALYST’ which celebrates 10 years of the Graduate Scholarship Programme. Working with Steph and Sam in the preparation and installation process, creating a cohesive show that embodies the work from a variety of artists that have been part of the programme has been eye opening! Throughout the development of this exhibition, I have been prompted to step out of my usual stance as an artist, and step into the view of a curator. Grasping the challenges that come with this role; carrying out conditions checks, handling and displaying the artworks in a format that respects and amplifies the talent and intentions of each artist – I have learnt that this process is both delicate and complex.

Before starting this internship, I gained previous work experience within in the University of Salford’s Archive, working with Head Archivist Alexandra Mitchell on cataloguing and digitisation of the Walter Greenwood Archive. During this placement I came to realise the important role that archival practices hold within the area of curatorial and contemporary art projects, regarding the elements of researching and viewing materials and imagery through a different lens – in curating collections and archives.

Outside my role within the Art Collection, I uphold my own practice as a Creative Practitioner – currently I am investigating the connection between art, curation and activism. My artistry focuses on amplifying marginalised voices through photographic, archival and printmaking techniques. I produce large installation pieces through a hybrid-medium of collaged screen printing. My most recent projects focus on the themes of Queer oppression and restoration in the 21st century. Recently my ‘From the Top Down’ (2023) piece had been selected to be shown at Rosetta Art’s (London) ‘Queer in Newham’ exhibition back in March. Alongside my artistry, I have been developing my curatorial practice in cultivating my knowledge by researching and applying inclusive curatorial practices within the UK’s heteronormative arts and heritage sector. My determination in putting 100% into my research and practical experiments has recently granted me a nomination for the Dean’s Award for Academic Achievement at the 2024 Create Student Awards.

Now nearly two months into this internship, I am feeling inspired and ready to take on the next challenges set within my role; taking a further deep dive into the logistics of collection care and handling procedures. Putting my technical knowledge and skills gained within my last three years to the test in photographing, cataloguing, digitising the collection. I’m excited to explore the intriguing and varied strands within the collection, and most importantly to be part of the process which enables staff, students and the community of Salford to further discover what this collection has to offer.

Cami O’Hagan – September 2024

You can find more of Cami’s artwork and curatorial projects on their Instagram and website:

Instagram: @coh_visuals
Website: https://cohagan1.wixsite.com/camiohagan

Preview: 40 Years of the Future: Where Should We Be Now?
Thursday 4 July 2024, 6-8pm

The preview of the new exhibition 40 Years of the Future: Where Should We Be Now? was on Thursday 4 July 2024, 6-8pm at Castlefield Gallery, Manchester.

Presented in partnership with the University of Salford Art Collection, 40 Years of the Future: Where Should We Be Now? brings together the work of a sculptor, photographer and artist-filmmaker – Jeffrey Knopf, Theo Simpson, and Hope Strickland. These artists are deeply committed to their disciplines, but also keen to work with them in expanded and non-traditional ways.

In both the content of their work and materials used, Knopf, Simpson and Strickland explore our complex relationship with the past, present and future. Importantly they challenge the dominant cultural narrative that the world has only one history. As Castlefield Gallery marks 40 years, this exhibition asks us to pause, to reflect and consider how we might imagine the future with the recognition that history isn’t the same for everyone; that amongst the artists we work with and the people that visit Castlefield Gallery, the past is felt and experienced differently.

The exhibition will present existing pieces alongside commissioned works developed in partnership with the University of Salford Art Collection, some of which will enter the University’s collection for the benefit of future generations. This builds on Castlefield Gallery’s decade of co-commissioning and artist development collaborations with the University of Salford Art Collection.

40 Years of the Future: Where Should We Be Now? continues: 7 July 2024 — 6 October 2024.
Presented in collaboration with the University of Salford Art Collection

40 Years of the Future: Where Should We Be Now? is supported by Castlefield Gallery Commissioning Patrons Prof Chris Klingenberg and Bridget and Richard Schilizzi

Saturday Slow Preview | Saturday 6 July

​If you would rather book a timed visit with additional restricted capacity in the gallery and enjoy our new exhibition at your own pace, you can attend our Saturday Slow Preview on Saturday 6 July. This is also a chance for you to ask questions to Castlefield Gallery Curator and Deputy Director Matthew Pendergast. Refreshments will be provided. Book your free tickets here

Now in its 10th year, the annual Graduate Scholarship scheme, run by the University of Salford Art Collection in partnership with Castlefield Gallery, is now open for applications. This year, we are delighted to announce additional support from Wallace Seymour Fine Art Products for the Wallace Seymour Painting Scholarship.

First established in 2014 to support artists in the crucial first year after graduation, the 12 month programme grants graduating students from the School of Arts, Media and Creative Technology time, resources and the opportunity to develop their practice within a supportive framework.

Scholarship packages are tailored but can include:

• £1000 bursary towards e.g. materials, research or equipment
• Studio space for 12 months
• Mentoring, coaching and professional guidance
• Research trips and networking
• Opportunity to have artwork acquired into the University of Salford Art Collection

In 2023/24, we awarded five places on the scheme, with studio spaces including Islington Mill, Paradise Works and Hot Bed Press. The programme evolves each year as we endeavour to offer opportunities to the graduates we think we can best support. Over 50 graduates have benefitted from the scheme so far.

Eligibility: 

The scheme is only open to University of Salford final year undergraduates from the School of Arts and Media (who are due to graduate or complete their studies in July 2024) – plus there will be a maximum of one scholarship open to an MA graduate (due to graduate or complete in September 2024). Applicants who will be undertaking further study at the time of the scholarship (e.g. starting an MA in 2024) will not be eligible. Further information and guidelines are available below.

Accessibility:

We aim to remove any barriers, bias or discrimination that prevents individuals or groups from realising their potential, and to develop organisational cultures that positively value diversity. If you have access needs and wish to discuss these in relation to the application, interview, or the opportunity more broadly, please contact: S.A.Parker@salford.ac.uk

How to Apply

Open for applications from: Monday 18th March 2024
Application deadline: by 9am Monday 29th April 2024
Late or incomplete applications will not be accepted.

Shortlisted applicants will be interviewed in person on Tuesday 21 May 2024.

To apply, please read the guidelines and complete the application form.

Click here to download the Application Form in Word Format or PDF Format
Click here to download the Application Guidance in Word Format or PDF Format

1) Complete your application form
2) Send an up to date CV (2 pages maximum)
3) Include image, video or sound files (and/or weblinks to these) – up to four files maximum
4) Email to Team Assistant, S.A.Parker@salford.ac.uk with the subject line “GSP Application Form 2024”

All the information on how to apply, eligibility criteria, application formats and further guidance is included in the guidelines.

For any enquires contact S.A.Parker@salford.ac.uk

Following artist Gwen Riley Jones’ 18 month residency with the University of Salford Art Collection, a new publication shares reflections on socially-engaged practice, youth engagement, and the relevance of collections today.

Browse online on Issu here, or download it online here, or you can get in touch with us to enquire about a physical copy (subject to availability).

Share your thoughts
Audience survey – closes 31st March 2024
Take part here

Whether you are a first-time or regular visitor to our events and exhibitions, we’d love to hear from you. Your feedback is crucial to help us better understand our audiences and develop our future programming. 

The survey is anonymous and should only take around 5 minutes – but you may leave your contact details at the end if you’d like to be entered into our prize draw for a £15 cafe voucher with our partners at Salford Museum & Art Gallery.  Please note, the survey is open to everyone, but unfortunately any staff/colleagues at the University are not eligible for the prize draw due to tax regulations. One winner will be drawn at random and contacted by email.

Fill out our survey here!

We are excited to announce a series of artist film screenings from the University of Salford Art Collection, each with an international focus, at the New Adelphi Exhibition Gallery from March to June 2024.

Our campus gallery will offer a relaxed environment to enjoy films in person, or our visitors further afield will be able to watch the full programme online during screening dates.

In March we launch with a special documentary screening by Open Eye Gallery as part of the Home from Home: Photography in Ukraine symposium.

During March and April, works by Parham Ghalamdar and Shezad Dawood are presented to coincide with major new touring show Hybrid Futures with our partners at Salford Museum & Art Gallery. Ghalamdar and Dawood both consider issues around migration, welfare and climate. From May, works by Antony Barkworth Knight, Elliott Flanagan, and Nicola Dale & Florence Lam, each explore how we can communicate, collaborate and build relationships meaningfully across international experiences – both physical and digital.

Click here for full information, screening dates, and online screenings!

Lindsay Taylor, Curator, December 2023

As we approach mid December, I find it a useful moment to reflect on the last 12 months and to highlight some of the achievements.

The year started with the Craig Easton: Is Anybody Listening exhibition launching at Open Eye Gallery, before travelling to Blackpool School of Art in spring and arriving in Salford this autumn. The response to Craig’s work has been amazing – but the real impact has been through the different engagement opportunities for young people in each location. I think all those present at the launch in New Adelphi on the 2 November realised the difference this project had made on the young people present. It was a truly magical moment! We are talking to Salford Youth Service about how we can build on this success together.  A massive to thank you to all our partners, freelancers especially Kit Abramson, Victoria Sanderson and Gwen Riley Jones, and of course the National Lottery Heritage Fund for supporting the project.

We have also been busy leading the Hybrid Futures project with our partners at Touchstones Rochdale, Castlefield Gallery, Grundy Art Gallery, Blackpool, and Shezad Dawood studio, and with support from Arts Council England, Art Fund and Henry Moore Foundation. This is a multi-layered and complex project which tests new ways of working collectively to address climate change. I am looking forward to presenting all the new co-commissions by Shezad Dawood, Parham Ghalamdar, Jessica El Mal and R A Walden at Salford Museum and Art Gallery from March 2024. In tandem I have been participating in Collective Futures, an engagement programme bringing together different communities from across Salford, Rochdale, Manchester and Blackpool to consider the climate emergency through the lens of artists.  It has been fascinating to meet new people, to learn about how different artists approach the most important issue of our time, and to have space to reflect on what we could collectively do. We will be hosting a sharing event planned for 17th April. A big thank you to our partners, funders and the artists, plus our team of freelancers: Kit Abramson, Catharine Braithwaite, Danny Chivers and Kate Wafer.

On the theme of climate change – it has been a privilege this year to work with Prof Richard Fitton and his team at Energy House 2.0 on our artist is residence programme. Supported by Friends of Energy House 2.0 and presented in partnership with Open Eye Gallery and Castlefield Gallery we welcomed Mishka Henner in January and Emily Speed in July, each for 18 months. The conversations have been stimulating, wide ranging and have gone in directions no one would have predicted. I’m genuinely excited to see how Mishka and Emily interpret the work of the scientists and engage audiences in thinking about sustainable living – and can assure you this will be in unexpected ways!!!

In summer we appointed our tenth cohort of Graduate Scholars, and to mark the 10^th anniversary of the programme we asked (outgoing Team Assistant) Rowan Pritchard to curate a booth at The Manchester Contemporary. She did a brilliant job, and with the support of Castlefield Gallery we presented work by 5 current scholars and alumni of the programme. It was wonderful to see Salford so well represented at the fair – with Paradise Works and Hot Bed Press hosting booths and with former Scholar Alena Donnelly from Islington Mill running a tufting experiment. By the end of the weekend we were all losing our voices from talking to so many different people about the artwork, the artists, the scholarship programme and of course our student offer in the School of Arts Media and Creative Technology. It was very helpful to have Rowan and Sam Parker (incoming Team Assistant) to share their personal experiences of studying at Salford, as well as having the support of  Phd candidate Nanke Ning. Well done everyone!

Rowan has now come to the end of her 2 year traineeship where she has developed her skills, grown her networks and built her CV. She reflects on her experience here. She has  been a pleasure to work with and amongst her many achievements has successfully led the team in the Green Impact Awards. A massive thank you Rowan and wishing you luck in all future endeavours. We also welcomed Sam Parker as our new Graduate Associate.  He has hit the ground running and you can read about his first few weeks here.

There are many other highlights – from touring The Storm Cone by Laura Daly to Blackpool, the Visibilities and Some Days I Feel Triangle exhibitions in New Adelphi, the Cecile Elstein display in Clifford Whitworth Library, loaning collection works to Bury Art Museum and others, and the various events we have contributed to or participated in. At a conservative estimate we have engaged well over 40,000 people both on campus and outside the university with the Art Collection in the last 12 months. 

It is also important to acknowledge the less visible work that happens in the background.  Having the art store facility has made a profound difference to how we can look after the collection, how the team works, and how we can engage students, staff and the public with the Collection. We have welcomed well over 100 people to the store including staff, students, as well as external contacts – curators, researchers etc, as well as youth groups from Salford. Stephanie Fletcher takes responsibility for caring for the University Art Collection and Art Store and has also led on several new acquisitions – you can find out more in a forthcoming blog. Thank you Steph for all your hard work and support.

This is my tenth year at Salford – and I approach 2024 with real excitement about the future. Partnership is at the heart of much of our work and true partnerships take time to develop. There feels to be a real shift in the city – with new and existing cultural and civic leaders coming together for the benefit of all people in Salford. I welcome this collaborative sense of ambition, exploration and experimentation, and look forward to engaging more people through new and existing partnerships in 2024. Finally I would like to thank the University leadership for continuing to support and invest in the work of the Art Collection team.

Wishing everyone a very happy Christmas, and a peaceful and joyous 2024.

Lindsay Taylor

Hello, I’m Sam Parker, and I’m thrilled to be joining the University of Salford Art Collection team. I recently graduated from the University of Salford BA (Hons) Fine Art programme earlier this year, and have taken up the position of Art Collection Team Assistant (Graduate Associate). I bring with me a passion for the arts and contemporary ways of working – I wanted to get stuck in as soon as possible, and the team here has not disappointed!

Joining the team in October, my first few weeks coincided with the launch and development of many UOSAC projects. I’ve had meetings with Hybrid Futures, a partnership between many art organisations across the North, exploring a collective and more sustainable ways of working with various artists and communities. Alongside this was the installation process of Craig Easton’s touring exhibition; Is Anybody Listening? Working with the extremely kind technicians from M&G, and speaking with Craig Easton himself about his exhibition and way of working; I also helped with the Photo Ethics Discussion in early November with Craig and Gwen Riley Jones.

I’ve aided in tours of exhibitions, current UOS Fine Art student queries, collections care, condition checking, and even took part in the Manchester Contemporary! Installing with Castlefield Gallery and the curator of our booth Rowan Pritchard. I introduced members the public to our organisations, discussed art and artists, spread the word of our Graduate Scholarship Programme, and even garnered possible collaboration opportunities for the collection.

 I’ve been thrown into the deep end, however, I couldn’t have wished for a better start!

I have come to the Art Collection Team with my own artist practice, along with a variety of experience from different areas within the creative sector. Installing a variety of different exhibitions across the Northwest and Yorkshire, commissions, graphic design, community engagement, photographic documentation, and volunteer work with organisations like the British Textile Biennial. Alongside this, my bachelor’s degree gave me the drive and the ambition to delve further into the logistics of exhibitions, collections, museums, and galleries; how they run, how work is acquired, the installation and technical challenges that each element poses – I wanted to know the inner workings, and how they operate. My ambition led me to support many exhibitions and events outside of the university programme, giving me valuable skills and knowledge that I will continue to build upon with the UoS Art Collection Team.

Part of my new role here includes problem solving, networking, and overall, just helping out wherever is needed. I find supporting the team and the University of Salford in any and all ways extremely rewarding, be it with AV equipment expertise, manual labour, or the various spouts of knowledge I have that can be applied in unique ways. I pride myself on being easy to talk to, this being especially evident during the Manchester Contemporary. I engaged with as many people as possible, and as a result of this, I had many interesting conversations with people from a plethora of different backgrounds. Artists, curators, students, suppliers, collectives, families, and even a circus performer. Having a dialogue with each of them about what the collection does, whilst also getting to know them and what they do was a brilliant experience that I hope to do more of during future events.

As I briefly mentioned above, I maintain my own artist practice outside of my work with the collection, as well as supporting my peers who are also making the jump from education to the art world. My personal practice at present combines the traditional medium of oil painting, with contemporary digital process like projections mapping, animation, and sound work. I aim to bring audio visual experiences to those who view my work, to create visual representations of sound and a physical form in which it can inhabit. This blend of traditional and contemporary processes has helped me in my new place with the Art Collection, providing on-site technological support with artists that are working with the team for future research and exhibition opportunities. My knowledge and skillsets will help me help the collection over the next 2 years, providing support wherever needed.

I’m looking forward to 2024, with the continuing work for Hybrid Futures, seeing what our artists in residence at Energy House create, and just to be a part of the team that will bring you new opportunities and ventures moving forward!

Sam Parker

November 2023

Opportunity ID: 1721
Opportunity Closing Date:  29/08/2023, 23:55
Primary Location  Salford – Peel Park Campus
Contract Type: Part Time Fixed Term
Anticipated end date  October 2025

This role is open to 2023 BA Graduates from the University of Salford, preferably from an Arts subject, who are interested in starting or developing a career in the arts, museums and galleries sector. Expected areas for skills development include Collections Care and Management, Programming, Arts Marketing and Communications, and General Administration.

The Graduate Associate will join a small but very experienced team of staff, who will support you on your learning journey within the role. You will support both business as usual and specific project-based activities led by the Art Collection team.

Click here for full information, criteria & how to apply.