Get Red Pepper's email newsletter. Enter your email address to receive our latest articles, updates and news.

×

We Want People Who Can Draw

Danielle Child writes on an exhibition of art school dissent

July 25, 2015
6 min read

wewant1Images: David Penny

As students occupied rooms for free education in Manchester University, further up Oxford Road, at the Manchester Metropolitan University Special Collections Gallery, an exhibition was opening devoted to art school dissent.

The exhibition is a collective endeavour co-curated by Stephanie Boydell, Simon Faulkner, Laura Guy and Jane Webb as part of the on-going ‘3 act’ Manifesto Show. The exhibition returns to earlier moments of student – and in particular, art student – protest from the 1960s through the 1980s. Despite the exhibition’s billing as a ‘manifesto’ show, co-curator Simon Faulkner explained that the exhibition only houses three manifestos: Valerie Solanas’ S.C.U.M Manifesto, Ken Garland’s First Things First manifesto and the Slade Women’s Group manifesto. It is the idea of the manifesto and what it represents – the politics of hope – that is important to the show.

Garland’s 1964 First Things First manifesto welcomes the visitor, a graphic designer’s anti-capitalist cry for a creative rather than simply commercial practice in his discipline. Each moment addressed in the exhibition demonstrates the ways in which art students dared to imagine the world in another way.

Specific sites of protest take precedence within the exhibition. You could begin with the six-week long 1968 Hornsey College of Art occupation, in which students took root initially over the withdrawal of student union fees by the local council. The sit-in allowed for an opportunity for the students to rethink their situation. They began to rewrite the curriculum, affording a more ‘networked’ approach to art education rather than the stifling linear approach which asked students to pick a pathway and stick to it. We see documents relating to the occupation and also visual materials, such as the two screenprinted Atelier Populaire posters, housed in MMU’s Special Collections, and relating to the Atelier Populaire visit to the occupation, which are juxtaposed with the students own pro-occupation lino-cut posters.

Hornsey was not alone: they visited other colleges and institutions to encourage UK-wide reform of the art school curriculum. Included in the exhibition is a typed list of responses from colleges to which the occupiers had written asking for support, with some amusing responses. The then Manchester Polytechnic’s response was simply ‘On holiday.’

Not all colleges were disengaged, however, and within the same year students at Guilford College of Art also began to demand change and occupied the college. Within this occupation, students wanted to take on a more cooperative role in the running and organisation of the college, adopting a reciprocal relationship with staff and students. Not unlike recent student occupations, the occupiers hung banners from the buildings calling for a ‘student voice’. Both occupations resulted in college closures, only re-opening once the ‘troublemakers’ were dispensed.

The exhibition displays a wealth of publications and visual material related to student protest over the two decades. The student’s commitment to getting their voices heard is evident in the collection of student and art school magazines brought together in this modest exhibition. Notable examples are the two issues of Icteric, produced in 1967 by students and staff at Newcastle University, including the studio instructors David and Stuart Wise (who would later form King Mob, the successor to the English branch of the Situationist International).

wewant2

Through the 1970s, we see a more conceptual approach within the publications; the influence of Art & Language is evident, for example, in Ostrich. The 1970s publications shown in the case alongside Ostrich, Faulkner informs me, present a more explicit understanding of radical politics and class structure. The curators are aware of the problems in exhibiting such valuable literature in these glass cases, limiting the visitor’s access to the pages. As Faulkner states: ‘Putting the artefacts on display at least makes aspects of an often hidden history visible to some degree.’

Neither is the exhibition static; not all the items are behind glass. Photographs highlight moments of protest, including an image of Kim Howells, later to become a Labour MP, participating in the Hornsey sit-in. There are also images of performances in Newcastle, often under the guidance of Ron Hunt – the Fine Art Librarian, originally invited by Richard Hamilton. Hunt remains a lively character in the narrative of Newcastle University’s dissent, helping form a collective of students – Icteric – working against the art school elitism encountered within the department and organising exhibitions such as Descent into the Street. He was also responsible for providing English translations of Situationist International texts to the students, which were sent to him from London and copied by Hunt. The group took a more performative stance and the exhibition includes images of performances that reference Kasimir Malevich (a student in a coffin with an image of his Black Square in the corner) and political street theatre.

Within the later periods, we encounter the ‘politics of representation’: films and materials relating to the women’s movement within the art school context. Connections traverse the exhibition, as Solanas’ manifesto is recalled from earlier in the show, when we look at the demands of women artists. In contrast to Patricia Holland’s 1970 film, which presents reenactments of the Hornsey College occupation, Katharine Meynell presents her documentary video of the RCA Women’s Group on a retreat. In contrast to the more explicitly political feminist material, such as the Slade Women’s Group manifesto, co-curator Laura Guy highlights the film’s political relevance: ‘ [The film] indirectly remains testament to the feminist desire to reframe communication between women as itself a political act.’

There remains value within an exhibition such as this, by bringing these events together histories begin to intersect. What may appear to be an isolated event in a North London college reads differently alongside events a year prior in a university in the north of England. The way in which subtle connections are built – the connection between S.C.U.M Manifesto, the Slade Women’s Group and King Mob and the inclusion of the RCA’s ARK magazine, which reproduced Garland’s manifesto – are testament to the informed curation of this project and also to the work yet to be done in writing its history. There remains little published work on this moment.

For the current and subsequent generations, there is much to be learnt from encountering archival material such as that presented here. While the exhibition is born from the archives, it does not isolate the history from the present – rather it concludes in asking ‘where do we go from here?’ A timely question for those once again preparing to barricade themselves in university buildings across the UK.

We Want People Who Can Draw: Instruction and Dissent in the British Art School, is at Special Collections, Manchester Metropolitan University until 31 July 2015.

Red Pepper is an independent, non-profit magazine that puts left politics and culture at the heart of its stories. We think publications should embrace the values of a movement that is unafraid to take a stand, radical yet not dogmatic, and focus on amplifying the voices of the people and activists that make up our movement. If you think so too, please support Red Pepper in continuing our work by becoming a subscriber today.
Why not try our new pay as you feel subscription? You decide how much to pay.
Share this article  
  share on facebook     share on twitter  

Meet the digital feminists
We're building new online tools to create a new feminist community and tackle sexism wherever we find it, writes Franziska Grobke

The Marikana women’s fight for justice, five years on
Marienna Pope-Weidemann meets Sikhala Sonke, a grassroots social justice group led by the women of Marikana

Forget ‘Columbus Day’ – this is the Day of Indigenous Resistance
By Leyli Horna, Marcela Terán and Sebastián Ordonez for Wretched of the Earth

Uber and the corporate capture of e-petitions
Steve Andrews looks at a profit-making petition platform's questionable relationship with the cab company

You might be a centrist if…
What does 'centrist' mean? Tom Walker identifies the key markers to help you spot centrism in the wild

Black Journalism Fund Open Editorial Meeting in Leeds
Friday 13th October, 5pm to 7pm, meeting inside the Laidlaw Library, Leeds University

This leadership contest can transform Scottish Labour
Martyn Cook argues that with a new left-wing leader the Scottish Labour Party can make a comeback

Review: No Is Not Enough
Samir Dathi reviews No Is Not Enough: Defeating the New Shock Politics, by Naomi Klein

Building Corbyn’s Labour from the ground up: How ‘the left’ won in Hackney South
Heather Mendick has gone from phone-banker at Corbyn for Leader to Hackney Momentum organiser to secretary of her local party. Here, she shares her top tips on transforming Labour from the bottom up

Five things to know about the independence movement in Catalonia
James O'Nions looks at the underlying dynamics of the Catalan independence movement

‘This building will be a library!’ From referendum to general strike in Catalonia
Ignasi Bernat and David Whyte report from the Catalan general strike, as the movements prepare to build a new republic

Chlorine chickens are just the start: Liam Fox’s Brexit trade free-for-all
A hard-right free marketer is now in charge of our trade policy. We urgently need to develop an alternative vision, writes Nick Dearden

There is no ‘cult of Corbyn’ – this is a movement preparing for power
The pundits still don’t understand that Labour’s new energy is about ‘we’ not ‘me’, writes Hilary Wainwright

Debt relief for the hurricane-hit islands is the least we should do
As the devastation from recent hurricanes in the Caribbean becomes clearer, the calls for debt relief for affected countries grow stronger, writes Tim Jones

‘Your credit score is not sufficient to enter this location’: the risks of the ‘smart city’
Jathan Sadowski explains techno-political trends of exclusion and enforcement in our cities, and how to overcome this new type of digital oppression

Why I’m standing with pregnant women and resisting NHS passport checks
Dr Joanna Dobbin says the government is making migrant women afraid to seek healthcare, increasing their chances of complications or even death

‘Committees in Defence of the Referendum’: update from Catalonia
Ignasi Bernat and David Whyte on developments as the Catalan people resist the Spanish state's crackdown on their independence referendum

The rights and safety of LGBTQ+ people are not guaranteed – we must continue to fight for them
Kennedy Walker looks at the growth in hate attacks at a time when the Tory government is being propped up by homophobes

Naomi Klein: the Corbyn movement is part of a global phenomenon
What radical writer Naomi Klein said in her guest speech to Labour Party conference

Waiting for the future to begin: refugees’ everyday lives in Greece
Solidarity volunteer Karolina Partyga on what she has learned from refugees in Thessaloniki

Don’t let Uber take you for a ride
Uber is no friend of passengers or workers, writes Lewis Norton – the firm has put riders at risk and exploited its drivers

Acid Corbynism’s next steps: building a socialist dance culture
Matt Phull and Will Stronge share more thoughts about the postcapitalist potential of the Acid Corbynist project

Flooding the cradle of civilisation: A 12,000 year old town in Kurdistan battles for survival
It’s one of the oldest continually inhabited places on earth, but a new dam has put Hasankeyf under threat, write Eliza Egret and Tom Anderson

New model activism: Putting Labour in office and the people in power
Hilary Wainwright examines how the ‘new politics’ needs to be about both winning electoral power and building transformative power

What is ‘free movement plus’?
A new report proposes an approach that can push back against the tide of anti-immigrant sentiment. Luke Cooper explains

The World Transformed: Red Pepper’s pick of the festival
Red Pepper is proud to be part of organising The World Transformed, in Brighton from 23-26 September. Here are our highlights from the programme

Working class theatre: Save Our Steel takes the stage
A new play inspired by Port Talbot’s ‘Save Our Steel’ campaign asks questions about the working class leaders of today. Adam Johannes talks to co-director Rhiannon White about the project, the people and the politics behind it

The dawn of commons politics
As supporters of the new 'commons politics' win office in a variety of European cities, Stacco Troncoso and Ann Marie Utratel chart where this movement came from – and where it may be going

A very social economist
Hilary Wainwright says the ideas of Robin Murray, who died in June, offer a practical alternative to neoliberalism

Art the Arms Fair: making art not war
Amy Corcoran on organising artistic resistance to the weapons dealers’ London showcase


12