Annual Review 2018 2019 - Sainsbury Centre
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Annual Review 2018 – 2019
1
The Board of the
Sainsbury Centre
Chairman
Mr Dominic Christian
Members of the Board
Annual Review
Lady Bacon
Mr Charles Barratt 1 August 2018 – 31 July 2019
Mr Simon Blakey
Dame Elizabeth Esteve-Coll
Ms Sara Foster
Professor Paul Greenhalgh
Mr Peter Hesketh
Professor Claire Jowitt
Ms Laura McGillivray
Professor Fiona Lettice
Professor David Richardson
Vice Chancellor (ex officio)
East End view,
Sainsbury Centre.
Photo: Andy Crouch.
Cover
Sainsbury Centre,
West End. with Lynn
Chadwick, Walking
Figures - Jubilee, 1977.
Caption On loan from the
collection of Denise
Coates CBE and
Richard Smith.
Photo: © Richard
Bryant 2019.
2 3
Encounter the unexpected
Contents
The Sainsbury Centre is a world-leading art museum on the campus
of the University of East Anglia (UEA). Chair’s Foreword 4
In a university whose motto is ‘do different’, we exist to encounter the Director’s Overview 6
unexpected through art. Every day, our visitors, our students and
our researchers build relationships between art, people and ideas. Programme 8
We were founded to display and care for the collections of
Touring 16
Robert and Lisa Sainsbury and the University. Cultures from
across the world are presented here to challenge and inspire. Collections 20
We are in one of Norman Foster’s most spectacular buildings,
still as startling as the day it opened. It’s a dramatic theatre Conservation 26
for art.
Learning 32
We’re a quietly purposeful hive of activity, where people
can find unconventional narratives that are both Research and Publications 46
enlightening and provocative.
We’re friendly, contemporary, internationalist,
Team Focus 50
experimental and scholarly.
Finance and Development 54
We aim to offer our audiences more than they’d expect,
so that they’ll come back again and again.
We welcome everyone into our space, our cafés,
shop and the park around us.
We share the art in our collection, the exhibitions
we create or host, and our research.
We excite people, through our talks, courses, films,
tours, studios and family activities.
Above all, we’re here to learn. And the best
learning comes from encountering the
unexpected.
Caption
Sainsbury Centre
Photo: © Richard Bryant, 2019.
4 Sainsbury Centre Annual Review 2018–2019 5
Centre staff. We are also delighted to
Chair’s Foreword welcome other groups and organisations
into the Centre who mobilise the
collection in profoundly human ways
through their work with, for example,
This year there were four major shows, dementia sufferers and their carers,
each offering fresh perspectives on people in the youth justice system, and
significant artists and movements of the mental-health service users.
twentieth century. Although the mediums
New and regular visitors alike often
were diverse – sculpture, photography,
comment on the unique atmosphere of
painting, film and literature – fascinating
the Sainsbury Centre. This is due, in part,
thematic threads ran through the
to our beautiful building with its wonderful
programme, such as the human body;
sense of space and light, but is also a
humans and nature; and how artists
testament to the hard work of our Visitor
responded to and negotiated a turbulent
Experience team, our Gallery Assistants,
and dynamic century.
and our catering staff. Together, they
The Collections, for all their sense of create an environment where visitors can
permanence and calm, are equally come not only to look at incredible
dynamic: items travel the world on loan; artworks, but also to read, to work, to
new loans and acquisitions arrive; meet friends, or simply to find a quiet
cleaning, repair and documentation takes space in a busy world.
place, and scholarly research is Of course, to support all of this,
undertaken. The Sculpture Park has significant funding is required. We are
continued to grow. It is always heartening immensely grateful to the Gatsby
to see how new works in the park prompt Charitable Foundation, to UEA, and to all
curiosity and conversation amongst local our very generous donors, sponsors and
people out strolling, jogging or walking supporters.
their dogs as well as those who have
come specifically to visit the Centre. All Needless to say, a huge contribution is
this is a testament to the dedication and made by members of our Board and I
expertise of the Centre’s collections and would like to take this opportunity to
conservation teams. thank outgoing members Mr Alan
Bookbinder, Mr Paul Cooke, Mr Jeremy
The Learning programme adds another Hardie and Professor John Mack for their
layer of understanding and interpretation invaluable support.
that is created with, rather than on behalf
An exciting year lies ahead that will play
of, our visitors. The curiosity, imagination,
to the Centre’s strengths in modern
and creativity that children and young
design, photography and sculpture, in
people from the region bring to the centre
connecting international art movements
is phenomenal, whether they come with
with regional heritage, and creating
their families, as part of school, college or
strong, people-centred curatorial
university visits, or as Young Associates Sainsbury Centre and
narratives that move, inform and inspire.
who co-develop and lead their own Tatlin’s Tower.
Photo: Andy Crouch.
activities with professional artists and Dominic Christian
6 Sainsbury Centre Annual Review 2018–2019 7
have acquired important new works, literature – and all regions and time They immediately looked at home at the
Director’s Overview and have placed particular emphasis on periods. The underlying message is that side of the Broad, and have become a
growing our research activity. Staff have we can all engage with the creative urge, firm favourite with the many walkers and
produced a host of publications, and regardless of what the work is, when it wanderers, who enjoy this lovely part of
continue to develop key collaborations was made, or where it is from. The the campus. New for this year, a
with scholars in the UK and oversees. particular theme that resonated this year, maintenance programme has been
In yet another exciting and busy
As an indication of the Centre’s with the Elisabeth Frink: Humans and established ensuring that all outdoor
year, the Sainsbury Centre delivered
developing research ethos, members of Other Animals and The Body Observed, sculptures on campus are kept in the best
a public programme that included
the team will be participants – for the was the human body. If one stands in the possible condition, and a Sculpture Park
large-scale exhibitions, a range of
first time – in the coming Research main gallery, the Living Area, it becomes map is now available to guide visitors.
smaller, didactic displays, and a
Excellence Framework (REF), the clear that in large part, we have a
dynamic programme of learning and New acquisitions are always an exciting
national university research audit. collection of faces and bodies, and that it
leisure events for all ages and moment. This year we were delighted to
was the depiction of humanity that most
interests. The Centre’s touring and As Director, it is especially pleasing to welcome into the collection a wall relief by
inspired Robert and Lisa Sainsbury.
outreach policies mean that our witness what we might call the Centre’s Rana Begum, acquired following the
audiences are now outside as well ethos, our distinct way of doing things, The Centre’s Learning team is at the Space, Light, Colour exhibition, and
as inside our beautiful walls. More across our collections, exhibitions, and heart of everything we do. They play a drawings by Robert Colquhoun, Ceri
than 140 works from the collection learning programmes. The Centre has crucial role in animating our exhibitions, Richards and Mary Kessel, donated by
were loaned, or part of exhibitions, always been recognised as displays and collections, prompting our our dear friends Rose and Robin Carver.
from Nottingham to Vancouver. experimental, in the way the curatorial audiences to construct their own The three relate closely to artists we
and learning teams juxtapose, compare, meanings, and, just as vital, enriching the already have, but were previously not
and contrast works from across all Centre through the range of experiences represented in the collection.
The exhibition season got off to a media - sculpture, drawing, painting, and perspectives they bring with them. It
Lynn Chadwick, What we do is fundamentally a team
fantastic start with Elisabeth Frink: photography, architecture, design, is a pleasure to see the Centre constantly
Beasts with UEA effort. It wouldn’t be possible without the
Humans and Other Animals, a major campus in buzzing with activity, from under-fives,
dedication of everyone at the Centre;
reappraisal of the celebrated British background. enjoying messy play in the studio, school
curators, learning specialists, front-of-
sculptor. Ken Kiff: The Sequence, an PHOTO: © Richard
children drawing in the Living Area, or
Bryant, 2019. house, communications, development,
exhibition of the seminal British painter, ‘feeding’ Lynn Chadwick’s beasts in the
finance and administration, security, and
complemented this on the Mezzanine Sculpture Park, to adults attending
events teams. We couldn’t function
Gallery. Opening in March 2019, The symposia, or in discussion with invited
without our extended family of colleagues
Body Observed, a collaboration with the specialists in the Modern Life Cafe. I am
and supporters: the passion and
renowned Magnum Agency, was the especially pleased with the full
knowledge of our volunteer guides, artist
Centre’s most ambitious photography development of our Associate Artists
educators, guest curators and visiting
exhibition to date. It brought together programme, in which professional
researchers. Our members are at the
Magnum photographers from the 1930s practicing artists from the region work
heart of everything we do. The Sainsbury
to the present day. And fittingly, at the with the Learning Team, bringing a
Centre Board remains the rock upon
end of the year, we returned home with a special blend of artistic originality,
which everything is built. And without the
celebration of the great W.G. Sebald, gallery-learning expertise, and empathy.
generous support of our funders and
seminal author and former colleague They co-design and deliver many of
patrons, led by Lord Sainsbury and the
at UEA, in what would have been his these events and programmes.
Gatsby Charitable Foundation, nothing
75th year.
It has been another successful year for would happen. Thank you all, for what you
Managing, conserving, and strategically the Sculpture Park. Highlights included have achieved. It’s been a good year.
adding to the collection is the central the arrival of two beautiful pieces by
function of the Centre. This year, we Elisabeth Frink: Mirage I and Mirage II. Paul Greenhalgh, Director
8 9
Programme
Elisabeth Frink: Humans and
Other Animals. Copyright Frink
Estate and Archive.
Photo: © Chris Radburn, PA, 2018. Caption
10 Sainsbury Centre
Exhibitions Elisabeth Frink:
Humans and Other Animals
13 October 2018 – 24 February 2019
Four outstanding exhibitions during Elisabeth Frink: Humans and Other
this reporting period have brought Animals provided a reappraisal of one of
visitors from near and far to the the most important British sculptors of the
Centre, garnering critical acclaim twentieth century. Featuring more than
from local and national media, and, 130 of her works, it was the largest
just as crucially, enthusiastic visitor presentation of her work in over 30 years.
reviews on social media The exhibition was presented
thematically, starting from her radical
beginnings in 1950s London, and
included work by other modern masters,
notably Pablo Picasso, Alberto
Giacometti, Auguste Rodin, Francis
Bacon, Germaine Richier and Louise
Bourgeois. In addition, work by two
exciting contemporary artists, Douglas
Gordon and Rebecca Warren, provided a
wider context to Frink’s themes. The
exhibition was curated by Calvin Winner,
Head of Collections at the Sainsbury
Centre, and accompanied by a
publication with new essays by Calvin Above Elisabeth Frink,
Flying Men in Elisabeth
Winner, Tania Moore, and Curator of the Frink: Humans and Other
Frink Estate and Archive, Annette Animals.
Ratuszniak. The exhibition was © Frink Estate and
Archive. PHOTO: Chris
generously supported by grants from the Radburn, PA, 2018.
Left Elisabeth Frink,
Henry Moore Foundation and the
Tribute Heads in Elisabeth
Geoffrey Watling Charity. Frink: Humans and Other
Animals.
© Frink Estate and
Archive. PHOTO: Chris
Radburn, PA, 2018.
Elisabeth Frink: Humans
and Other Animals.
Photo: © Chris Radburn,
PA, 2018.
12 Sainsbury Centre Annual Review 2018–2019 13
The Body Observed:
of representation.
Magnum Photos Photography had the
The Body Observed:
Magnum Photos.
23 March – 30 June 2019 potential to mimic or Photo: © Andy crouch.
The Body Observed included over 130 subvert existing
works from the 1930s to the present. The visual codes and the
exhibition explored how Magnum camera has been used to examine,
photographers turned their lens to the categorise, scrutinise and objectify the
human body, examining issues such as human form, establishing a new visual
identity, intimacy, sexuality and ritual, to language.
voyeurism and performance. Magnum Photos was founded in 1947 by
The body has been a recurrent subject the photographers Henri Cartier-Bresson,
throughout the history of art but the Robert Capa, George Rodger and David
advent of photography offered new ‘Chim’ Seymour. A cooperative, Magnum
opportunities to engage with past modes was initially established in New York but
offices soon followed in London and
Paris. They are now recognised as one of
The Body Observed: the best-known photo agencies, whose
Magnum Photos. members include many of the world’s
Photo: © Andy crouch.
leading photographers.
14 Sainsbury Centre Annual Review 2018–2019 15
Ken Kiff: The Sequence
right Ken Kiff, Face
17 November 2018 – 21 April 2019 above the Water.
© The Estate of Ken
An important reappraisal of the work of Kiff. All rights
reserved. PHOTO:
Ken Kiff (1935–2001), The Sequence Angelo Plantamura.
focused on a unique series of almost 200 Below Ken Kiff: The
Sequence.
acrylic paintings on paper, which the Photo: Andy Crouch.
artist began in 1971 and continued to
work on intermittently until his death. The
Sainsbury Centre’s exhibition brought
together 60 paintings, in the largest ever
presentation of works from across the
series.
The installation examined the evolution of
Kiff’s ideas from their tentative
beginnings to the expansion of key
themes as the series progressed.
Included in the exhibition were a number
of previously unseen and unfinished Kiff was elected a Royal Academician in
paintings from late in the series which 1991. His work was exhibited
were found in Kiff’s studio at his death. internationally and was included in major
These were hung in counterpoint to a public collections. Kiff also worked for
triptych he began during his National many years in the painting department at
Gallery Residency in 1991, to reveal how Chelsea School of Art and Royal College
ideas explored in The Sequence related of Art, in addition to other British art
to his entire oeuvre. schools.
W.G. Sebald: Far away – W. G. Sebald outside
but from where? the Sainsbury Centre,
1999.
11 May – 18 August 2019 PHOTO: © Basso
Cannarsa/Opale/
Bridgeman Images.
Marking what would have been the 75th Michael Hamburger, is a meditation on
birthday of one of East Anglia’s finest his themes of time, transience and loss.
writers W.G. Sebald: Far away – but from Julie Mehretu’s monumental six-panel
where? celebrated Sebald’s career at work, Epigraph, Damascus, similarly
UEA and acknowledged his profound provided a thematic connection as her
influence on the visual arts. Photographs, layering of architectural imagery and
written documents and video from the gestural marks suggests erasure. The
UEA archive and the Sebald Estate were exhibition was curated by Calvin Winner
presented alongside work by three and Tania Moore (Sainsbury Centre) and
leading contemporary artists. Tess Dr Nick Warr (UEA). A complementary
Jaray’s series of prints in the Sainsbury exhibition, Lines of Sight – W.G. Sebald’s
Centre collection were made in dialogue East Anglia was held at Norwich Castle
with Sebald. Tacita Dean’s 16mm film, Museum & Art Gallery.
16 17
Touring
Alberto Giacometti: A Line
through Time, Vancouver Art
Gallery, 2019.
Photo: Maegan Hill-Caroll. Caption18 Sainsbury Centre Annual Review 2018–2019 19
The Sainsbury Centre’s 2017 exhibition The Sainsbury Centre were pleased to The exhibition featured the Sainsbury
Touring Exhibitions Rana Begum: Space Light Colour collaborate with the Vancouver Art Centre’s collection of Giacometti works
travelled to the Djanogly Gallery at Gallery to bring our 2016 exhibition supported by loans from important North
Nottingham Lakeside Arts in 2018, Alberto Giacometti: A Line Through Time American collections. In addition to
The Centre’s commitment to touring showing from July 7 to September 30. to Canada this year. The exhibition ran Giacometti, featured artists included
exhibitions has continued this year, from 15 June – 29 September and Francis Bacon, César, Lynn Chadwick,
The exhibition contained several
allowing not just the shows, but also attracted tens of thousands of visitors. Jean Dubuffet, Jean Fautrier, Elisabeth
sculptures, reliefs, and maquettes
works from the permanent collection Frink, Henri Michaux, Eduardo Paolozzi,
alongside new works. A highlight was the The exhibition offered an opportunity to
that have been a key components of Isabel Rawsthorne, Man Ray, Germaine
immersive and transformative sculptural examine the breadth of Giacometti’s
those shows, to reach a wider Richier, Jean-Paul Riopelle and William
environment No.670, a mesh installation. practice and to see his place among his
audience. Turnbull.
Free-standing coloured aluminium bars contemporaries in Paris and London in
and wall-mounted aluminium bars such the post-war period. Key themes for the
as No. 529 continued their debut with UK exhibition included the artist’s historical
audiences. These were complemented sources of inspiration, his innovative
by relief ‘fold’ works, with their complex approach to materials and processes, Alberto Giacometti: A Line through
Time, Vancouver Art Gallery, 2019.
geometries, stealth-like form and and his notable influence on British Photo: Maegan Hill-Caroll.
shimmering palettes. artists.
Whilst at the Djanogy gallery this
exhibition was named in Harper’s Bazaar
Arabia as one of ‘4 Exhibitions to see in
the UK this Summer’.
Rana Begum: Space
Light Colour. Djanogly
Gallery, 2018.
Photo: Nick Dunbar.20 21
Collections
Sainsbury Centre, East End.
© Richard Bryant, 2019. Caption22 Sainsbury Centre Annual Review 2018–2019 23
Collections New Perspectives First Nation contemporary artist Sonny Loans and Tours
The temporary exhibition programme Assu (Ligwildaʼxw/Kwakwaka’wakw) This year, our touring exhibitions and
provides opportunities to undertake new curated a display of our North West loan programme have ensured that the
research on aspects of the Collection, to Coast collection in the East-end gallery collection is seen by audiences around
The professional stewardship of the showcase works that are more rarely alongside a new work of his own created the world. The Centre’s exhibition, Alberto
Collections is central to the seen on public display, and to see items during his residency at the University of Giacometti: A Line Through Time, toured
Sainsbury Centre mission. These from the Collection in a new light. For the East Anglia. This provided a unique to the Vancouver Art Gallery with a
collections are of national and Magdalene Odundo: The Journey of opportunity to revisit familiar objects from significant loan of 77 works from the
international importance and display, Things at The Hepworth, Wakefield in the collection, deepening our Collection. 34 works from the Anderson
research and caring for them are collaboration with the Sainsbury Centre, appreciation of their cultural context and Collection of Art Nouveau were loaned to
core activities. The spirit of the for example, the artist selected 34 works opening up critical discussion of the the Latvia National Museum of Art for
Living Area display on the ground from the Sainsbury Centre’s Collection, routes by which many pieces from their exhibition, Art Nouveau. Its
floor endures, allowing visitors to illuminating the wide range of influences unnamed artists have found their way into Beginnings, Influences, and Original
build a personal, ongoing on her work and, in turn, shining new light collections such as ours. Below Ancestors are
Nature. These included works by Emile
Watching, Sonny Assu,
relationship with the collection. At on the chosen pieces in the context of (Un)named Maker. Gallé, Alphonse Mucha, Louis Majorelle,
the same time, a range of activities contemporary art practice. PHOTO: ANDI SAPEY. René Lalique and Philippe Wolfers.
and initiatives ensure that the
Collection remains a dynamic and
ever-evolving entity available to the
widest possible audiences.
Below left Henry Moore,
Mother and Child. Copyright.
The Henry Moore Foundation.
Photo: pete huggins.
Below Sonny Assu, (Un)named
Maker, Chilcat Blanket, Robert
and Lisa Sainsbury Collection.
PHOTO: ANDI SAPEY.24 Sainsbury Centre Annual Review 2018–2019 25
New Acquisitions Photographing the Collection Sculpture Park
Although a very high percentage of the
collection is photographed (98%), some
of the older image assets need updating
The Collections continue to grow through due to improving standards of digital The Sainsbury Centre Sculpture Park
donation and bequest guided by our photography. This year, a collaboration continues to grow with two works by
acquisitions strategy. An important work with the Art UK Sculpture project allowed Elisabeth Frink, Mirage I and Mirage II
by Rana Begum was acquired following us to re-photograph sculptures in the placed near the Broad and to the
the successful exhibition, Rana Begum: collection to a high standard. Up to 20% South-East of the nearby Sainsbury
Space Light Colour held at the Centre in of our collection (that met the criteria) Centre. In addition John Christie’s My
2017. The work, No.684. L Fold, 2016, is was eligible for Art UK photography Blue Heaven, 2018, came as a temporary
one of her trademark large fold wall relief funding. intervention as part of the Norwich and
sculptures. It is the first contemporary Norfolk Festival 2019. A conservation
work to be added for many years project is underway on Henry Clyne’s
following grants from the Art Fund, V&A Variations on a Square, 1964, which will
Purchasing Fund and our Exhibition secure its structural integrity. A new
Circle. Begum is a contemporary artist Sculpture Park map was launched to
with a growing reputation, and the help visitors locate all sculptures and
exhibition attracted visitors from a wide enjoy the campus parkland.
demographic, particularly a younger
Lynn Chadwick’s Beasts have remained
audience. The work makes a great
on Long Loan this year and make for a
addition to our Collection of Abstract and
dramatic juxtaposition with our
Constructivist Art, supporting our aims to
Norman Foster building. Lynn Chadwick. Beasts.
remain relevant to new and diverse © Richard Bryant, 2019.
audiences.
We are delighted that we continue to have
A group of six drawings were donated by in the Sculpure Park Walking Figures -
Robin and Rose Carver (daughter of Sir Jubilee, 1977 by Lynn Chadwick from the
Colin Anderson). A wonderful drawing by collection of Denise Coates CBE and
Ceri Richards (1903), two drawings by Richard Smith. The Denise Coates
Robert Colquhoun (1914) and three Foundation provides funding to charities
drawings by Mary Kessell (1914). None in the following areas: health and well-
of these artists were previously being, education and training, and the
represented in the collection. There was arts. They are a big supporter of arts
also the exciting arrival of three important education for children. The Denise Coates
works on Long Loans which formed a Foundation were the lead supporter of
display in the East-end gallery. Claude Barbara Hepworth: Sculpture for a
Monet (1840-1926), Allée de sapins à Modern World at Tate Britain in 2015.
Varengeville and two David Hockney
iPad Drawings, dramatically
made into enlarged prints from
Rana Begum,
The Yosemite Suite. No. 684. L Fold, 2016. John Christie, My Blue
photo credit: nick Heaven. © John Christie.
dunbar. PHOTO: Nick Wood.26 27
Conservation
Henry Moore, Two-Piece
Reclining Figure no. 3. Long
loan from Tate.
© The Henry Moore
Foundation. PHOTO:
Sainsbury Centre archive. Caption28 Sainsbury Centre Annual Review 2018–2019 29
Conservation Sculpture Park Laura Robinson, one of our freelance Exhibitions
One of the more exciting developments conservation technicians, who has Conservation for loans and exhibitions
this year has been the development of a previously worked for the Henry Moore was particularly extensive this year.
Sculpture Park maintenance programme. Foundation and the Yorkshire Sculpture Alongside the usual commitments, there
Conservation is all about looking Park, has joined the Conservation team were three large outgoing loans: the
after objects and preserving them for 5 hours a week to specifically work Alberto Giacometti exhibition at
for the future. It remains a vital on much-needed Sculpture Park Vancouver Art Gallery (77 objects),
component of the Sainsbury maintenance, including regular cleaning Magdalene Odundo at The Hepworth
Centre’s activities. We have a team and condition checking of all outdoor Wakefield (34 objects), and Art Nouveau
of staff dedicated to preserving sculptures on campus. We have just at the Riga Bourse Art Museum (34
the collections and artworks completed the annual deep clean of the objects). These loans required up-to-date
under our care. Sculpture Park collection, including new condition reports, photography, and
Henry Moore, Draped acquisitions Mirages I and II by Above De-installation
packaging and display documentation. In
Reclining Woman. of Edgar Degas’ Little
Elisabeth Frink. Dancer. addition, some objects required remedial
© The Henry Moore
Foundation. PHOTO:
Richard Bryant, 2018.
Photo: Sainsbury
Centre Archive.
treatment prior to travel, including
consolidation, remounting and reframing.30 Sainsbury Centre Annual Review 2018–2019 31
Icon conference
Top Conservation intern
Anna Rolph consolidating Sainsbury Centre conservator, Maria
Elisabeth Frink’s Plaster for Ledinskaya, was invited to present a
Rider.
Centre Conservator Maria
poster on Using Decision-Making Models
Ledinskaya using smoke in Conservation of Contemporary
sponges to clean an Sculpture at the Institute of Conservation
architectural model of UEA
Campus by Fielden and Triennial International Conference 2019
Mawson, prior to it going (#ICON19) in Belfast. The poster
on loan to the House of submission included a case study of the
European History in
Brussels. treatment of Dan Harvey’s Slate Bust,
Bottom Modelling actual carried out at the Sainsbury Centre a
and projected lux exposure couple of years ago.
at West Mezzanine
locations for
Doris Lessing: 100.
At home, Elisabeth Frink: Humans and
Other Animals proved conservation-
intensive, with several objects requiring
repair or specialist mounting. West
Mezzanine exhibition W.G. Sebald was
challenging for different reasons, as it
contained external loans with stringent
environmental restrictions, which were
difficult to meet in an open-plan,
fluctuating, partially-daylit exhibition
space. In particular, the presence of
daylight and variable light levels on West
Mezzanine necessitated in-depth data
analysis and modelling before the loans
could be approved; this was achieved
using logged monitoring data from our
Hanwell Synergy Environmental
Monitoring System and free interactive Poster presentation for
data visualisation software Microsoft #ICON19 in Belfast.
Power BI.32 33
Learning
Volunteer leading school group,
Living Area.
Photo: Sainsbury Centre archive. Caption34 Sainsbury Centre Annual Review 2018–2019 35
Schools and Outreach Case Studies Alternative Voices of Colonialism
with City Academy Norwich in
partnership with UEA Outreach
Over three sessions from January to
This year has seen a focus on Teachers Afternoon: March, 20 Year-7 boys from City
creative and critical activity
Making Art Outside Academy Norwich worked in the gallery
happening in the gallery spaces –
This year, over 50 local educators took with artist/musician Ian Brownlie and
young people performing poems
part in three teachers afternoons led by writer/PhD researcher Ashley Hickson-
with John Davies’ Bucket Man,
artists and the learning team. The Lovence. They started with themselves:
children curating pom-pom
sessions aimed to support group leaders ‘Who are you? Where do you come from?
interventions around Moore’s
to enable confident student engagement Why are you here?’ They thought about
Mother and Child, mature students
in gallery spaces. The final session in themselves alongside other things in the
stretched out on the carpet making
May explored opportunities and gallery: ‘Who are they? Where do they
miniature Tatlin Towers and life
challenges brought by working with art come from? Why are they here?’ After 3
models posing for drawings among
outside, and included felt-making with busy days of making music, poems, raps
ceremonial staffs.
Rach Anstey-Sanders and sensory and zines, the students invited their
tree-meeting with Sorrel Muggridge. families to share their work and show
Great Yarmouth Primary them round their local gallery.
The Sainsbury Centre’s partnership with
‘
Academy students drawing
UEA Outreach has continued this year, Beyond the Spectacle with Northwest Coast Canada
enabling access to exhibition tickets and Sonny Assu objects. Artists Sonny Assu
and Annie Brundrit,
artist-led activity for students who meet The boys are absolutely buzzing
Students from Bluebell Primary and July 2019.
UEA Widening Participation criteria. The about their visits to the Sainsbury
Great Yarmouth Primary met local Photo: Rose Hughes.
UEA Education module ‘Creativity and
artist Annie Brundrit and Sainsbury Centre. Several of them have told me
Learning’ ran for the 9th year, with 30
Teachers making outside. Centre artist-in-residence Sonny they intend to go back to the gallery.
students undertaking five months of
Artists Rach Anstey- Assu for two mornings of practical
activity with artist Annie Brundrit. Sanders and Sorrel Head of English Faculty at City
engagement with objects from Northwest
Muggridge, May 2019. Academy Norwich
Photo: Ali Hewson. Coast Canada. After drawing formline
studies of objects in the collection, the
students were inspired by Sonny Assu’s
art practice to create their own pop-
culture button blankets. The visits were
part of the AHRC-funded, UEA/University
of Kent research project ‘Beyond the
Spectacle: Native North American
Presence in Britain’.
Year 7 students and their
families from City Academy
Norwich in the gallery.
Artist Ian Brownlie and
writer Ashley Hickson-
Lovence. Jan – March
2019.
Photo: Rose Hughes.36 Sainsbury Centre Annual Review 2018–2019 37
West Earlham Infants Children and Families
After School Club
The Sainsbury Centre’s close relationship
with West Earlham Infant and Nursery
School has taken a new shape this year. This year our popular studio and
Artist Rebecca Greathead created a storytelling sessions continued to
5-month programme of activity for groups offer children and families a high
of KS1 children on Wednesday afternoons. quality of creative learning and play
The sessions responded to the school’s with professional artist-facilitators.
focus on life skills such as reslience and In addition, two special projects,
problem solving, and included child-led ‘Hands Find Form’ and ‘Play Stories’,
exploration of the gallery and developing supported our commitment to
craft skills. The students confidence grew sustained relationships with
After School Club students from West Earlham Infant and Nursery School. Artist
from walking gingerly in the door on the neighbouring early-years providers:
Rebecca Greathead, Jan – May 2019.
first week to leading their adults to the University of East Anglia Nursery
Photo: Lynn Gray.
favourite objects by the end. and Earlham Nursery School. A new
children and families advisory group Francesca Cant’s ‘Corners’
will help us to further develop a at Family Art Day.
Figures at a glance: family-friendly approach across the PHOTO: Sainsbury
Centre archive.
Centre.
Groups Individuals Sessions
School and Student Groups
Primary 66 2344
Secondary 77 2654
Further Education 15 337
Higher Education 36 358
Overseas/Languages 32 354
Totals 226 6047
Artist-led workshops 139 3766 176
Artist-led tours 1424 59
Exhibitions
Frink (13 October 2018 – 24 Feb 2019) 38 1011
Kiff (17 November 2018-23 April 2019) 11 343
Magnum (23 March 2019-30 June 2019) 14 240
Sebald (11 May 2019- 18 August 2019) 2 54
Outreach visits
To The Sainsbury Centre 53 1663
Offsite 4 15438 Sainsbury Centre Annual Review 2018–2019 39
Case Studies Figures at a glance: Play Stories with UEA Nursery
Following a visit to the Sainsbury Centre
‘
Sessions Total
by nursery workers and children from
participant
– sessions Green Room, Lawrence Bradby, Children
Hands Find Form and Families Manager, made four visits
The whole project, what we made/ Regular programme
In January 2019, children, staff and to the nursery, drawing the children’s
what the children made, and the Mini Studio 10 114 play and recording the way that their
parents from Earlham Nursery School
imaginative + playful approaches imaginative narratives supported their
visited the Elisabeth Frink exhibition Sunday Studio 11 301
where they saw sculptures of various in the sessions, has been inspiring exploration of materials (sand, water,
Children’s Holiday Studio 4 32
animals and used drawing to express for me.’ cardboard). At the end of each session, a
Story Pot 40 327 short story was improvised from the
how the creatures might move. Back at
Georgie Manly, Associate Artist. Making Marks Together 14 150 drawings and the children’s phrases.
the Nursery school, lead artist Georgie
Manly shared different materials that staff Family Advisory Group 2 25
and children could play with, bringing We Are Here
Special projects
them to life and making their own (Family Advisory Group)
Hands Find Form 16 332
creatures. Georgie and the children A new initiative for the Centre, the We Are
built a habitat for the animals, Hands Find Form. TOTAL 97 1,281 Here group will advise on the current
allowing them to play with their PHOTO: Sainsbury
Centre archive. facilities and activities on offer for families
creatures in the castle, dress up, and at the Sainsbury Centre and help to
become a creature themselves: all shape future activities for families by
ways to develop a rounded commenting on them in the planning
understanding of what ‘animal’ means. stages.
A display from the project was on show Five families attended the first meeting in
to the public near the front entrance of May. This included fun and creative
the Centre for six weeks in the summer, activities that could run in parallel with
which invited visitors to see the children’s discussions about our current and future
pieces alongside creatures from the main provision, prompting one parent to
collection, to watch film footage of the comment: ‘This has been really family-
work being made, and – for those small friendly, more than I had expected.’
enough – to crawl inside the castle and
Already, valuable suggestions and ideas
experience the display from a child’s
have emerged, including: more use of
perspective. Children, staff, governors
the outdoor spaces near the Sainsbury
and parents from Earlham Nursery
Centre; projects and collaborative
School had an exuberant visit to see their
constructions which are bigger than
work back at the location where the
‘
those a family could undertake at home;
project had begun.
and provision for older children who
benefit from sensory play as much as
This is the best afternoon our under-5s.
group has ever had.’
Katie Westropp, Nursery worker Story Pot.
PHOTO: Sainsbury
Centre archive.40 Sainsbury Centre Annual Review 2018–2019 41
‘
It’s given me so much great experience that
Young People Case Studies
I otherwise wouldn’t have been able to gain.
I found it so inclusive and welcoming
Work Experience
This year, the Centre continued its As part of our annual Work Experience Young Associates
commitment to supporting 16-25 year programme, four students from Hewett From 2018-2019, Young Associates
olds: offering opportunities to gain Academy, City of Norwich School and worked with artist Theodora Lecrinier and
valuable work experience, to lead and Aylsham High School, took part in a Nell Croose Myhill from the Sainsbury
create their own projects with range of activities across the Centre. Centre Learning team to research different
professional artists and curators, and Highlights of the week included ways artists have worked with collections.
to develop their artistic practice as cataloguing objects in the art store with The group spent time researching the
‘
part of their formal learning from the collections management team, Sainsbury Centre collections and meeting
GCSE to degree level. developing a gallery guide for the artists and curators Dyad Creative,
Sainsbury Centre with the curatorial team, LOWER.GREEN, Alice Lee, Marriott’s Way
arranging a display in the shop with the I am surprised at how much more
and Davide Lakshmanasamy to introduce
Front of House team and trialling some confident I have become
different models of exhibition practice.
learning resources for families visiting the and the range of backgrounds
Sainsbury Centre with the Learning team. Following the initial period of research, the
that people came from
Alongside the sessions led by Sainsbury group developed ideas for an exhibition to
Centre staff, the students completed a encourage audience interaction and
Bronze Arts Award. engagement with the Sainsbury Collection.
INTERACT took place at the Sainsbury
Centre on Tuesday 19 March, showing the
work of 13 contemporary artists and Left and above
‘
welcoming over 100 visitors to the gallery. Young Associates.
PHOTO: Nell Croose
Myhill.
Overall this week was incredibly useful
and helped me to learn new skills and During the spring term, the group worked
to put together a ‘zine’ celebrating the
expand on skills I already had. I learned
experience of the Young Associates over
a lot about all the different jobs in a
the past year featuring written
gallery and how they all have a vital contributions, collaborative pieces and
role in the upkeep of the Centre. I am creative responses.
sad to be leaving.
The feedback from the group was
overwhelmingly positive. With all of the
Young Associates agreeing that the
programme supported them to develop
skills and build confidence in their
creative practice, that it widened their
Schools and Colleges
Workshop with Theo aspirations for after school, college or
LeCrinier. university, and that it introduced the
PHOTO: Sainsbury
Centre archive.
Sainsbury Centre as a place they will
return to.42 Sainsbury Centre Annual Review 2018–2019 43
Project: Starting with Sebald • Research-Practice Focus
Working with Artists peer-led learning opportunities,
Photography students from the University networking and professional
This project supported students to
of Suffolk worked with the Sainsbury Centre development in a mutually supportive
develop their research-practice, and
Learning team to develop new work in context. The programme is open to all
apply their work to the specific context
response to the exhibition W.G. Sebald: We work with a pool of highly-skilled Sainsbury Centre Associate Artists.
of the Sainsbury Centre.
Far away – but from where? Artist Associates to deliver Following a period of review, in Autumn
• Outward Facing innovative creative sessions across 2018, we launch two mutually supportive
Artist Hannelore Smith led a workshop to strands:
Working alongside Sainsbury Centre all age groups. In addition we offer a
develop the students’ ideas, drawing on
staff, students had the opportunity to peer-led network to local artists Open Studio: An open session based in
themes found within the exhibition and
develop skills in engaging with the interested in working with people the Sainsbury Centre studio for artists to
focussing on ways that place, memory and
public and working in a public-facing and collections. try ideas out, research in the collection,
time can be layered into a photographic
organisation. work collaboratively, or on their own.
image.
• Professional Practice Artist’s Programme: a series of events
The resulting display of photographs were Case Studies
produced on location around the Eastern focussing on a different theme or
This project was designed to support
region, with students linking the ideas and approach each month, with suggested
students to develop their professional
approaches of Sebald’s image-making and readings to encourage critical
practice through experience of working
writing back into their own photographic engagement with ideas around artist
with partners outside their degree Artist’s Programme
practices. practice and working in the public realm.
programme, but also through sign-
Sainsbury Centre Artist’s Programme is a Participating artists are invited to present
posting key career development
collaborative initiative for artists with a projects, pose questions and lead
opportunities available after graduation.
Partnership: NUA Illustration particular interest in working from activities for the group.
In February 2019, the products were collections, and with people. The
In Autumn 2018, the Sainsbury Centre
displayed in the shop, exceeding £400 in programme supports the development of
invited NUA Illustration students to develop
sales over a two-week period; the range research and practice through a series of
bespoke limited edition products for the
was popular with our visitors and marked artist-led discussions, making sessions
Sainsbury Centre shop, inspired and
an important achievement for the and critical enquiry. It aims to provide Artist’s Programme with
informed by the Sainsbury Centre. Over the
students. Rachel Anstey-Sanders.
course of five months, students worked PHOTO: Sainsbury
closely with Senior Lecturer Peter Nencini Centre archive.
and Sainsbury Centre staff Rory Hill and
Nell Croose Myhill to ensure that their
products were sensitive to the collections,
This year, we have invited a number of
audiences and ethos of the retail offer at
artists, writers, curators and educators to
the gallery. The students took part in
lead sessions for the group. Guest
workshops in the Sainsbury Centre
contributors include:
collections, before undertaking personal
research, and pitching ideas to the Visitor Kaavous Clayton / Professor Krzysztof
Services and Learning team staff. Fijalkowski / Kimberly Foster / Dr Sarah
Lowndes / Dr Victoria Mitchell / Peter
This project formed the basis of a core 3rd
Nencini / Jonathan P. Watts / Lucy
year module, with all outcomes contributing
Wheeler / Dr Mark Wilsher
to the students’ final assessment.
Responding to a live brief, the project was
focussed around the following areas:44 Sainsbury Centre Annual Review 2018–2019 45
‘
I valued the time spent with objects from the
Case Studies Volunteer programme
permanent collection – learned a lot. Enjoyed close
reading – lots of thinking here. Enjoyed the calm of
Site-Writing the course and the delivery of both Sarah and Nell.
In February, we launched a 12-week During the last year, our dedicated team
writing course, based in the Sainsbury of 40 volunteer guides have offered daily
During the Elisabeth Frink exhibition,
Centre collections. Led by Dr Sarah guided tours of the Sainsbury Centre
painter and sculptor Laura Bygrave
Lowndes, the course was designed in Collection, architecture, temporary
presented a visual essay tracing ideas of
response to the Sainsbury Centre, exhibitions and Sculpture Park. The team
heightened psychological states and
developing new interpretations of offer 2 daily tours of the permanent
physical metamorphosis in ancient
artworks and the building. Through collection and 2 daily tours of the
mythology through to contemporary
looking, discussing, shared reading and temporary exhibition; often guiding 30-40
culture.
writing, the project enabled personal visitors per week, rising to over 160
responses, detailed The Sainsbury Centre commissioned visitors during peak times. A further 500
‘
descriptions and published celebrated writer Philippa Snow to write a visitors have enjoyed guided tours as
Screen printing. texts to combine into new new text inspired by Eve Arnold’s part of pre-paid groups.
PHOTO: Nell
I have loved this course. What a privilege to come to pieces of writing that relate photographs of Joan Crawford on display
Croose Myhill.
Our volunteers form an active community,
this very personal collection and be introduced in to the Sainsbury Centre. in The Body Observed: Magnum Photos
organising their own social activities,
exhibition. The text, titled Joan
detail to specific objects, with such encouragement to proposing new initiatives, and
Crawford’s Mouth, explored ideas of the
discuss, consider and explore them in so many contexts Interpretations crafted public persona of the Hollywood
continuously updating their knowledge
– their position here, in history, in art, in relation to us, to and skills. This year, presentations and
the Sainsbury Centre has developed a icon – the buried childhood trauma, the
walk-throughs from the curatorial team
each other and to brilliantly selected texts. Hugely new strand of public programming. gruelling beauty regime, the enduring
have proved particularly popular, helping
enjoyed the open dynamic that’s evolved, often sharing Interpretations invites contemporary ambition and the lipstick. The text will go
volunteers prepare for upcoming
artists and writers to respond to the on to feature in Philippa’s forthcoming
quite personal stories and ideas and fascinating to exhibitions. New volunteer-led initiatives
exhibitions, drawing out concerns that book investigating the representation of
hear different responses, sending my own thoughts have included ten-minute briefings to
resonate with their own practice and Hollywood icons.
in new and rich directions. visitors who can then explore the art and
reflecting on themes from a
Following time spent in the W.G. Sebald surrounding environment on their own,
contemporary perspective.
‘
photographic archive, acclaimed and tours of the Sculpture Park.
Guided Tour.
photographer Glen Jamieson presented PHOTO: Sainsbury
a live slideshow performance and Centre archive.
Public Programme Fascinating connections between accompanying text as part of the public
text and objects and texts and programme alongside W.G. Sebald: Far
A varied programme of lectures,
writing tasks. This illuminated for me away – but from where? The performance
conversations, practical workshops and
brought together Jamieson and Sebald’s
study days complemented our thoughts about various cultural
imagery to explore historical and
exhibitions throughout the year, offering themes…It was great to see links
invented narratives and broader
interested members of the public the between our contemporary culture concerns of photography.
opportunity to gain deeper insights by
and cultures we might sometimes
hearing from, and working with curators, This popular programme has facilitated
artists, and researchers. In addition, look at as if from outside. collaborations with contemporary artists
longer courses provided opportunities and supported the development of new
for sustained learning within supportive work, directly inspired by the Sainsbury
peer groups. Centre exhibitions.46 47
Research and
Publications
Modern Life Cafe, a venue for BBC
TODAY programme, May 2019.
Photo: Neil Hall, UEA. Caption48 Sainsbury Centre Annual Review 2018–2019 49
Research Elisabeth Frink: It also sets out how Frink explored the
Humans and Other Animals relationship of humans to animals and the
use of the animal as metaphor. Finally,
Edited by Calvin Winner and the book provided a comprehensive
published by the Sainsbury Centre, analysis of the response to the aftermath
As a university-based Museum and 2018
Gallery, it is important to the of the Second World War and Cold War:
Sainsbury Centre that inquiry runs This publication marked the 25th identifying extensive parallels with literary
through our practice, asking anniversary of the artist’s death and the as well as film sources and the
questions about what we do and largest exhibition of her work since 1985. relationship between literature, film, and
how we do it, as well as generating Although regarded correctly as one of the visual artists in the post-war period.
new knowledge, concepts and the most important British sculptors of the
interpretations around our twentieth century, her work had received
collections, displays and exhibitions. less critical attention than her peers. To Other staff publications and
address this, the book set out to re- papers include:
This year, staff have produced a range evaluate her work by providing new and
of scholarly articles, papers, catalogues, significant evidence-based critical Paul Greenhalgh. Brian Clarke: the Art of
and monographs, and have analysis, making it possible to reimagine Light, (Norwich: Sainsbury Centre,) 2018.
collaborated with researchers nationally Frink through the main themes in her Paul Greenhalgh, Editor with Robert Bud,
and internationally, including scholars work, such as the preoccupation with Frank James, and Morag Shiach Being
Front cover of
from the Yale Center for British Art, the Elisabeth Frink: darker aspects of human behaviour. Modern: the cultural Impact of Science in
University of Kent, Lancaster University Humans and Other the Early Twentieth Century, (London:
Animals catalogue.
and the British Society of Soil Science. UCL) 2018.
PHOTO: Sainsbury
Centre archive.
In addition to our own research activity, Tania Moore. ‘Artists, Institutions and
Above and Below
we have continued our commitment to Objects; Magdalene Odundo as artist- Brian Clarke,
supporting the wider research curator’, in Madgalene Odundo: the The Art of Light.
community. This includes providing Journey of Things, (Wakefield: The PHOTO: Sainsbury
Centre archive.
open access to our collections and Hepworth Wakefield) 2019.
archives; inviting scholars to share their
research more widely through our
public programme; and welcoming
researchers who wish to use the Centre
as a test-bed to trial their research in
practice. In the last year, we have
recorded thirty four publications by
external researchers based on our
collections and programme.50 51
Team focus
Meetings in Kofra Cafe.
PHOTO: Richard Bryant, 2019. Caption52 Sainsbury Centre Annual Review 2018–2019 53
Here, our Gallery Assistants tell us about
Team Focus some of their greatest challenges and
Gallery Assistants,
left to right: Lisa
most memorable moments working at the Brooks, Gary
Sainsbury Centre. Laidlaw, Jason
Gotts, manager,
Our Gallery Assistants are the Lee Heath.
building’s custodians; our day-to- PHOTO: Andy
day security and exhibition What has been your greatest Crouch, 2019.
concierges. You will see them challenge since joining the
providing helpful assistance to Centre and why?
gallery visitors and guests. Some
What do you find most fulfilling
of our Gallery Assistants have over Helen Clarke: My greatest challenge
15 years’ service. They are the was learning about the Centre and the about your role?
Centre’s unsung heroes who often artwork in it. There is lots to remember
have a tale to tell given their Trevor Collett: Being able to assist
but worth it when making the visitors visit
collective experience as customers and clients and receiving
memorable.
ambassadors to the Centre. genuine thanks.
Gary Laidlaw: My greatest challenge
Andy Crouch: Keeping the public
since joining the Sainsbury Centre was a
happy and seeing them involved and
solo trip to the Hermitage Gallery in
interested in the collection/exhibitions.
St Petersburg to condition check and
supervise the return of several works by Gary Laidlaw: The opportunity to
Francis Bacon that had been on loan engage customers with my own
there. The outward leg was a What has been the most interest in art, to help them make the
straightforward flight, but the return memorable moment so far? most of their visit.
journey was a four-day lorry trip via
Jason Gotts: It is a delight to see
Finland, a Baltic Sea ferry, Germany and Helen Clarke: My most memorable people enjoying themselves and
Holland with two Russian drivers with moment so far has to be meeting and being inspired by the creativity on
only a few words of English. shaking the hand of Sir David display at the Centre and being able
Attenborough and obviously not to talk to visitors about it.
forgetting HM The Queen’s visit
Jason Gotts: I hate to sound soppy, but
I would have to say meeting my wife is
probably the most memorable moment;
we married earlier this year. Emma and I
met when she briefly worked as an
Invigilator for the Centre back in 2008,
Gallery Assistants,
left to right: Nigel whilst she was studying at the University.
Clarke, Trevor Otherwise, I’ve always been a fan of film
Collett, Duncan director Joss Whedon’s work. Seeing
Donaldson-
Davidson, Helen him in person, directing the likes of
Clarke, Andrew Robert Downey Jnr, Chris Evans and
Crouch. Chris Hemsworth during the filming of the
PHOTO: Andy
Crouch. 2019. final scenes of Avengers: Age of Ultron,
at the Centre, was pretty special.54 55
Finance and
Development
The Body Observed: Magnum
Photos, private view.
PHOTO: ANDI SAPEY. Caption56 Sainsbury Centre Annual Review 2018–2019 57
Development Development Exhibition Circle • A two-day art and cultural tour of
We are grateful to Simon Blakey for his Exhibition Circle membership is made by Dundee included an architects’ tour of
generous support with large a donation of £500 or £1000 for the UNESCO city of Design, curator-
photographic shows over a three-year Exhibition Circle Plus. We are immensely led visits to The McManus Gallery and
period, beginning with The Body grateful for this support which directly Dundee Contemporary Art as well as a
Observed: Magnum Photos, and for funds our exhibitions and learning tour led by Ghislaine Wood, of her
In the past year, the Development
making significant introductions for the programmes. opening exhibition Ocean Liners:
team exceeded its target of enrolling
Speed and Style at the new V&A
‘
40 supporters to the Exhibition Centre. Simon, alongside our Director,
Our Members are an enthusiastic group Dundee.
Circle. Members of the Circle were Professor Paul Greenhalgh, were key
of supporters who are regularly given the
also treated to a new year-round speakers at a special lunch entitled ‘Art,
opportunity to experience art and special The Prof and the Pots: What a
programme of small bespoke events. Life and Legacy’ held at JP Morgan.
events in an informal relaxed
stimulating evening – I cannot believe
Our relationships with development environment. In the past year we have
peers in the Tate and V&A have hosted an array of one-off events which I got the chance to pick up a jug
strengthened during the past year. We include: designed and painted by Picasso!
were delighted to host a group of 25 Tate
• An evening with Graham Crowley, a
patrons who enjoyed a tour of the
fellow lecturer with Ken Kiff at the
Sainsbury Collection and a guided tour of
Royal College of Art, together with the Corporate Partnerships
our Sculpture Park. There will be a We are indebted to Hudson Architects
collector and generous donor to the
reciprocal visit for our donor and who generously provide planning
exhibition John Talbot discussing the
Exhibition Circle members of a private expertise for each addition to the
appeal of the artist through looking at
tour exploring the works of Aubrey Sculpture Park and Hallett Insurance and
one painting
Beardsley. Blackwell Green for insuring the
• More than 40 people visited Suffolk
sculptures.
‘
sculptor Laurence Edwards’
Halesworth foundry studio for a “Tour Ken Kiff, ‘The Collector Next year we will be launching a new
and Pour” event which also revealed and the Painter’ with Corporate Club with a core package of
Exactly why I joined. An exhibition I techniques behind creating the 8ft Professor Paul benefits for entry level support as well as
Greenhalgh.
probably would not have gone to – Man of Stones – the latest addition to PHOTO: Stephanie
a range of bespoke initiatives.
instead deep insights and some lovely our Sculpture Park Renouf.
objects/displays to observe and • We launched curator-led tours of our
hopefully begin to understand. Sculpture Park with our Head of
Collections Calvin Winner and Curator
Tania Moore
• A series of evenings entitled ‘The
Professor and the Pots’ led by
Professor Greenhalgh, in advance of
his new book on western ceramics,
Didi Goodenough with the enabled members and friends to hold
Riace Warriors, Elisabeth works by hugely significant artists
Frink and Other Animals,
curator’s tour.
including Picasso
PHOTO: Stephanie
Renouf.You can also read
