Posts tagged: Cami O’Hagan

Hello Curatorial Intern Cami O’Hagan here, this will be my final takeover for spotlighting these artworks. It has been a privilege in showing you my journey in discovering the work of Albert Adams through auditing the University’s Special Collection!

What is the connection between Adams and Salford?

It was at the Slade that he became close friends with the English painter Harold Riley, through this friendship Adams visited Salford to spend the Winter holidays with Riley and his family – this link to Salford could be the reason why Adams’ life-long partner Edward Glennon generously donated such a substantial amount of the artist’s works and studio materials to the University (with the support of ArtFund).

Although moving away from South Africa, he had revisited many times between 1959-90 – it is clear that his home-country and its government’s exclusionary history is embedded within the direction of his artistry. With over 75 of Adams’ artworks in this Special Collection, Adams produced a substantial number of self-portraits throughout his artistic career.

Self Portrait (1956) an etching made during Adams’ final months at the Slade, I believe this self-portrait characterises a shifting point in the artist’s life, the lines that make up his hair are thin and subtle, opposed to the lines around the nose and chin; bold and thick. He was about to start a journey at the Munich Academy of art – relocating again from London to Germany, there may have been feelings of hesitation in not being accepted by society due to white supremacist racial bias.

Last but not least, my personal favourite – Self-Portrait (1958) an oil painting of a handsome and stylish looking Adams in his vest top. A disparate and experimental approach in the use of colour, perhaps this particular style could be a precursor for Basquiat or Jarman. I feel that Self-Portrait (1958) is a prime example of how one could perceive Adams’ body of work through a queer lens, his style is fluid – constantly evolving his technical skills with no fixed medium for his output. Albert Adams was ahead of his time, not adhering to one theme but covering the complexities of his own identity, racial injustice and political oppression.

Human cruelty – war and apartheid

To view more artworks and gain further information on Albert Adams follow the link below!

Hello, Cami O’Hagan back again! Covering all things Albert Adams in celebration of the University’s Special Collection!

To familiarise you with his life and work, Adams born in Johannesburg 1929 of African-Indian heritage, he was excluded from having a formal arts education in South Africa due to the apartheid legislation; segregating the country’s populace into ‘white’ and ‘coloured’ peoples.

This racial segregation policy did not stop Adams from gaining access to a university scholarship in 1953, where he relocated to London to study at the Slade School of Art until 1956. After he graduated, he was awarded another scholarship at the Munich Academy of Arts (1956-57), then completed further education at the School of Vision, Salzburg (1957).  Producing his artworks through drawing, etching, printmaking and painting, building up an impressive technical skillset Adams spent many years teaching art in secondary schools in London’s East End.

It is clear to me that this impressive academic career shaped the expressionist style and macabre-like atmosphere that can be seen and felt from Adams’ work for example, Head – Final State and Figure Study (images 2 and 3). The emphasis on stark distinctions between shape, form and the monochromatic palette to symbolise the toughest of realities; the uncertainty, alienation and urgency to survive as a Black gay man who was ostracized from his own country, and also trying to navigate the sophisticated arts and culture scene in London.

The distorted head with huge, clouded but peering eyes (image 2) in my opinion, represents Adams’ attention on the subjugation of citizens under the state violence caused by the apartheid. The interplay of shadows within the abstracted figure with an obliterated face and a clearly visible era (image 3), this blurring technique making this subject unknown – signifying Adams grappling with his identity and sexuality. The graphite on paper, creating the impenetrable blackness around the struggling figure opens up a window to the intersectionality of themed possibilities that this work could be centred around.  

Hi! Curatorial Intern Cami O’Hagan here taking over the Art Collection’s feed to bring you artwork(s) of the month for November!

I have been prompted to reflect on the past couple of months, working closely with Steph and Sam; having the incredible opportunity to be part of the collection audit. In performing condition checks on each artwork, this process has allowed me to explore the influential and multifaceted narratives within collection.

Image courtesy of Cami O’Hagan

I want to spotlight artworks from the University’s Special collection; The Albert Adam’s Collection. Over these next few posts, I will be sharing my concepts on the work of South African Expressionist artist Albert Adams (1929 – 2006), not only to celebrate Black Culture and queer identity but also to generate opportunity for the wider community to learn about the struggles and resilience of this magnificent artist.

Did you know there is a room dedicated to the artist in The Old Fire Station building, located across from the Peel Building – the Albert Adams room has a large selection of the artist’s work on display!

Stay tuned for more in depth details on how the University of Salford holds the largest archive of Albert Adams’ artwork and personal ephemera.