BBC announces six artists chosen to be part of Artists and Archive: Artist Moving Image at the BBC

The BBC has chosen the six Scottish moving image artists who will be given access to explore the BBC archives in order to create their own artworks inspired by classic and lesser-known BBC programmes from throughout its history. The selected artists are Kate Davis, Kathryn Elkin, Turner Prize-nominated Luke Fowler, Torsten Lauschmann, Alia Sayed and Stephen Sutcliffe.

BBC Scotland, Creative Scotland and LUX arts agency have partnered to create Artists and Archive: Artist Moving Image at the BBC, a unique and unparalleled initiative that for the first time will create six new moving image works to be hosted online at and around the country. This initiative marks the start of the BBC’s on-going commitment to allow artists access to archives.

Jonty Claypole, Head of Arts for BBC Productions, says: “We were bowled over by the quality of moving image artists in Scotland and are looking forward to seeing what the chosen six are able to produce. The BBC Archive is a rich and unrivalled resource so this is a unique opportunity for some of Scotland’s most interesting artists to create an eclectic mix of new works. We want to learn from these artists and see the archive used in new ways.”

Leonie Bell, Director of Arts and Engagement at Creative Scotland, says: “Creative Scotland is delighted to be supporting LUX to deliver these residencies in partnership with BBC Scotland through the Creative Futures Programme. The BBC archive is a rich resource that will offer these artists significant source material and access to production facilities, allowing them to develop their practice and create wonderful new works.”

The six artists are:

Kate Davis

Born in New Zealand, Kate Davis lives and works in Glasgow. Questioning how to bear witness to the complexities of the past, Davis’s artwork is an attempt to reconsider, reclaim and reinvent what certain histories could look, sound and feel like. Informed by successive waves of feminist art and theory, Davis works across a range of media, including drawing, installation, bookworks and film/video.

Kathryn Elkin

Kathryn Elkin works predominantly in performance, video and writing. She is a graduate of Glasgow School of Art, Goldsmiths College and participated in the LUX Associate Artists Programme 2012/13. Her work concerns a comparison of the way in which we experience art to the ways and means it is understood culturally.

Luke Fowler

Luke Fowler (born 1978) is an artist, filmmaker, and musician based in Glasgow. He collaborates regularly with Richard Youngs, Eric La Casa, Toshiya Tsunoda and Lee Patterson. Fowler was awarded the inaugural Derek Jarman Award in 2008 and, in 2012, he was shortlisted for the Turner Prize. His latest film, The Poor Stockinger, The Luddite Cropper And The Deluded Followers Of Joanna Southcott won awards at the Mexico and Lima film festivals.

Torsten Lauschmann

Torsten Lauschmann’s diverse practice continually shifts and plays with expectations of images and the interpretation of meaning. He is concerned with both the aesthetic content of images and the ‘decoding’ of meaning and narrative. Since moving to Glasgow in 1993 to study Fine Art Photography at Glasgow School of Art, Lauschmann has been exhibiting, screening and performing his work throughout the UK and internationally.

Alia Syed

Alia Syed is an experimental filmmaker and artist. She grew up in Glasgow, moving to London at 17. She earned a Bachelors in Fine Arts from University of East London in 1987 and a Postgraduate degree in Mixed Media from Slade School of Fine Art in 1992. Syed’s work has been screened and exhibited in museums, galleries, and festivals worldwide, including at the Museum of Modern Art (MoMA) in New York, Museo Nacional Centro de Arte Reina Sofia in Madrid, Institute of International Visual Arts (inIVA) in London, and the Talwar Gallery, which has represented her for over a decade, in New York and in New Delhi.

Stephen Sutcliffe

Stephen Sutcliffe (born 1968, Harrogate) lives and works in Glasgow. Recent solo exhibitions include Tramway, Glasgow (2013) Rob Tufnell, London (2012), Stills, Edinburgh (2011), Whitechapel Auditorium (2010), Cubitt, London (2009), Galerie Micky Schubert, Berlin (2008) and Art Now, Light Box, Tate Britain (2005). Group exhibitions include: Frieze Projects, ‘Project 35’, Independent Curators International, touring to various venues in the United States (2010), ‘The Associates’, Dundee Contemporary Arts (2009) and ‘Nought to Sixty’ and ‘Talk Show’ at the ICA, London (2008 and 2009 respectively).


Event: Barby Asante and the South London Black Music Archive

On the 14th March, the CCA will welcome South London based artist, curator and educator Barby Asante to share her investigation into the black music history of South London. Commissioned by Peckham Space, the ‘open archive’ is comprised of conversations and memorabilia, celebrating seminal moments alongside personal stories. This is the first in a series of events at the CCA profiling current archive activity.

Following the talk there will be an evening of afrobeat in Saramago cafe bar.

Friday 14th March, 6pm, FREE but ticketed, Centre for Contemporary Arts Cinema, 350 Sauchiehall Street Glasgow, G2 3JD

Book online / 0141 352 4900

More information can be found on the CCA’s website

Mackintosh library windows fully restored

In recent months the west facade of the Mackintosh Building at Glasgow School of Art (GSA) has been covered with scaffolding signalling on-going repairs to the iconic library windows. Costing in the region of £300,000, the work was grant aided by Historic Scotland with further support from the J Paul Getty Jr. Charitable Trust. The project was managed by Page and Park Architects with Nic Boyes Stone Conservation as lead contractor.

GSA’s library windows have had a somewhat chequered past. The original steel framed windows overseen by Mackintosh as part of the second phase of the building’s construction were in fact replaced in the 1940s because of their already perilous condition. A report to the GSA’s Board of Governors in May 1946 highlighted concerns that any delay to their repair might necessitate the need to “remove the present windows as a matter of safety to life”. Unfortunately, a detailed assessment of whatever repairs were made (estimated initially at £1060 but subsequently rising to £2125!) is no longer available. It also seems that further repairs may have been made in the early 1960s, but the location of the windows on the south-west corner of the building would have seen them continually exposed to the worst of Glasgow’s weather and the use of mastic and putty packed into some of the windows’ joints was hardly a defence against the inevitable wind-blown water ingress.

This time round it was decided that the most effective treatment would be the complete removal of the steel frames and steel and brass sub-frames, and for these to be sand-blasted and then galvanised. As much of the original glazing as possible was removed, cleaned and reused.

Work began on reinstalling the windows in October 2013 and was completed just two months later. Importantly, a detailed analysis of past treatments together with an extensive technical overview of current methods and processes used will be an invaluable resource for those tasked with making whatever subsequent repairs are needed in the, hopefully, distant future.

Interwoven Connections: finding inspiration in the company’s in-house archive

The Working Archive

Who: Stoddard Templeton
Job: Carpet Manufacturers
Where: West of Scotland
When: 1839 – 2005
Archive: Stoddard Design Library and Archives & Collections Centre, The Glasgow School of Art

Stoddard Templeton denotes a group of carpet manufacturing companies based in the West of Scotland, the foundations of which can be traced to the 1800s with the formation of James Templeton & Co and A F Stoddard & Co. Subsidiary companies included Ronald Jack & Co Paisley, Henry Widnell & Stewart of Bonnyrigg, Gray’s of Ayr and Blackwood Morton & Sons Kilmarnock. Stoddard Templeton designed and supplied many iconic carpets, for royalty, for government, for ocean liners such as the Titanic and Queen Mary and for the Festival of Britain. They exported worldwide and produced for contract and domestic markets until interior trends, consumer preference for other flooring surfaces and competition from overseas led to the demise of the remaining company, Stoddard…

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GSA Plaster Cast Collection

For my placement for my MSc in Museum Studies at The University of Glasgow I am working to improve the catalogue entries for the cast collection at The Glasgow School of Art.  This information will form a record of what the School possesses, and will also be added to a new online catalogue, due to launch later this year, which will include images alongside the descriptions. The catalogue entries are compiled from several sources: the pieces themselves; two box files of card catalogues with Polaroids from the 1970s, and information from the School’s archives.

The catalogue entries are compiled from several sources: the pieces themselves; two box files of card catalogues with Polaroid’s from the 70’s, and information from the School’s archives.

The catalogue entries are compiled from several sources: the casts themselves; two box files of card catalogues with Polaroids from the 1970s, and information from the School’s archives.

Frustratingly until recently casts have been seen as the ‘poor relation’ of sculpture and art collections. According to one of the School tour guides, visitors have been surprised and disappointed to discover these are plaster copies and have often branded them ‘fakes’.

However, despite occasionally being considered a poor substitute for the real thing, the potential of casts should not be undervalued. In form they are virtually identical to the original sculpture and aesthetically could be said to provide the same experience of the original works.

A cast collection provides an opportunity to see world renowned works up close as well as creating an entirely unique experience. The sculptures and fragments of architecture displayed around the School’s campus come from all over Europe and the Middle East, making them accessible to all, not just those afforded with the ability to travel.

But, why does Glasgow School of Art have a cast collection? Primarily they are an inheritance of the development of artistic training where in shops of established Masters students would make studies of replicas of classic Greek, Roman, and Renaissance originals. Antique sculpture was seen as one of the highest forms of art thus was one of the greatest mediums through which to study the subject.

After the establishment of art schools casts were used as models for the students to draw; from this they could study musculature structures and the forms of the body.

The School no longer uses these casts for official teaching, however students still draw from the casts in the corridors in their free time and casts are occasionally borrowed by Continuing Education classes to act as models. In the past few years efforts have been made to conserve, protect and document these pieces, in recognition of their unique importance both as works of art and in the history of art education at the School.

Guest post by Penelope Hines, MSc Museum Studies student placement, The University of Glasgow