Tag Archives: Kettles Yard

Is SITE-SPECIFIC art really such a new idea

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RECENTLY, WE HAVE viewed two exhibitions, one in Cambridge and the other in Dulwich (South London), which contain site specific works. The website of New York’s Guggenheim Museum (www.guggenheim.org/artwork/movement/site-specific-artenvironmental-art) defines site specific art as follows:

“Site-specific or Environmental art refers to an artist’s intervention in a specific locale, creating a work that is integrated with its surroundings and that explores its relationship to the topography of its locale, whether indoors or out, urban, desert, marine, or otherwise … No matter which approach an artist takes, Site-specific art is meant to become part of its locale, and to restructure the viewer’s conceptual and perceptual experience of that locale through the artist’s intervention.”

It seems that site-specific art is the name given to a relatively recent artistic trend or movement.

By Megan Rooney

In Cambridge’s Kettle’s Yard, we saw a room whose walls were entirely covered by paintings created by the artist Megan Rooney. She spent several days painting on the walls. When the exhibition is over (on the 6th of October 2024), the walls will be whitewashed, and her site-specific creation made especially for the room will disappear. At Dulwich Picture Gallery, there is a room whose walls have been decorated by the Japanese artist Yoshida Ayomi. Her beautiful evocation of cherry blossom was made specially for the room in which it can be seen. Her site-specific work will be removed when the exhibition is over on the 3rd of November 2024. These two artworks, like those of the artist Christo Vladimirov Javacheff (1935–2020), who temporarily covered buildings with sheets of various materials, are classed as site-specific. Currently, it seems to me that site-specific artworks are usually temporary in nature.

Michelangelo covered the walls and ceilings of Rome’s Sistine Chapel with paintings. Likewise, the ceiling in the Residenz, a palace in Würzburg, were covered by paintings created by Giovanni Battista Tiepolo and his sons specially for the room. Should these examples and many others like them be considered ‘site-specific’ art, or is the term only to be applied to creations of artists made during the 20th  and 21st  centuries?  Probably not, because those who commissioned frescoes and murals for rooms many centuries ago, usually hoped that the artworks would outlast them and their creators. The artists who have made site specific art currently and in the recent past do not always expect them to last for as long as those made several centuries ago.

Embroidering in Palestine past and present

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THERE IS A SUPERB exhibition at Cambridge’s Kettles Yard until the end of October 2023. The beautiful exhibits are mainly garments embroidered by Palestinian women before and after 1947. There are also a few other items including Palestinian propaganda posters depicting women wearing embroidered garments. The labels next to the exhibits are full of interesting information. Several of the topics particularly interested me.

Some of the garments were made using scraps of pre-used materials – for example bits of old clothes or even sacking and other packing materials. These old textiles were stitched together to create new clothes. This reminded me of a similar recycling of old materials which I saw at an exhibition of Japanese recycling at London’s Brunei Gallery.

I saw examples of Palestinian dresses which seemed very long. The length of these skirts was for a purpose. The cloth could be raised up to produce pocket like folds in which objects could be carried. These dresses were worn by Bedouins living in the Bethlehem and Jerusalem areas.

There was a widow’s dress. It was dark blue – the colour signifying grieving – and trimmed with red threads, which signified that the wearer was ready to be remarried.

One room was dedicated to embroidery and how the troubled situation in Palestine affected it. In refugee camps, some of the traditional materials were unavailable, and women had to embroider using whatever threads they could get hold of. There were several embroidered dresses adorned with decorations including the Palestinian flag and other patriotic motifs. These were displayed in the same room as the pro-Palestine propaganda posters that show women wearing embroidered garments.

I hope that what I have written gives you something of the flavour of this fascinating exhibition. Despite the intense reactions that discussing the plight of the Palestinians often arouses, the exhibition at Kettles Yard takes a reasonably balanced view of the situation. Its emphasis is on the skills of the Palestinian embroiderers rather than the politics of the part of the world where some of them still reside.

Signs of times long past

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OBSERVANT VISITORS TO KETTLES Yard art centre in Cambridge will notice a couple of incised stone signs embedded into the centre’s wall facing Castle Street. One of them reads:
“Godmanchester Turnpike Road Ends Here”.
Below this, there is another stone sign that reads:
“To the Horse-shoe Corner, Godmanchester, 14 Miles 4 Furlongs”
Just in case you did not know, or have forgotten (as I had), there are 8 furlongs in 1 mile (1.6 Km), and a turnpike is a toll-road. Godmanchester is northwest of Cambridge.

The turnpike was in existence by 1744. According to a website (www.geograph.org.uk/photo/568133), the tolls were:
“… collected by the Godmanchester to Cambridge Turnpike Trust. Horseshoe Corner in Godmanchester is almost probably the location of the then Horseshoe Inn at the southern end of Post Street. It was also where markets were held as early as 1533.”
The turnpike might well have run along a part of the course of a road built by the Romans – Via Devana. Robert Fox, writing in his 1831 history of Godmanchester, noted:
“The celebrated William Stukely had no doubts upon this point; for, in describing the course of the Via Devana through Cambridge, in his Itinerariium Curiosum, republished 1757,4to, at page 203 we find ‘Out of the ruins of this city—Granta now Cambridge—William the Norman Duke built a castle; a very straight Roman road comes to it from Durosiponte, Godmanchester. It passes as straight through the present Cambridge by Christ College and Emanuel College… so to Camulodunum, Colchester.’ “
Stukely was almost certainly describing Castle Hill and its southern continuation Magdalene Street, which leads almost straight towards Christ and Emannuel Colleges.

The stones were originally set higher than they are at present. They were then at the level of the eyes of coachmen seated high up on the front of their vehicles. The stones were discovered when Kettles Yard was undergoing restoration in 2016, and have been set at a level lower than would have been the case in the past.

Though not of as great visual impact as some of the exhibits in Kettles Yard, the two reminders of an old toll road are of considerable historic interest.

Lucie Rie, a potter in Cambridge

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ONE OF MY UNCLES commissioned a ceramic work by the celebrated potter Lucie Rie (née Gomperz; 1902-1995). This used to be on display in my aunt and uncle’s house, which I used to visit often. Thus, I became familiar with the name Lucy Rie.

Lucie was born in Vienna (Austria), where she attended an avant-garde school of arts and crafts from 1922. After graduating, she set up her own studio in Vienna. Bring Jewish, she left Vienna in the late 1930s, and settled in London.

Encouraged by Bernard Leach, she established a studio in London. For a while she worked with the potter Hans Coper, but the artistic styles of the two artists differed considerably. Over the years, Lucie created objects in a variety of styles. She experimented with glazes and other techniques, creating pottery which was truly 20th century. Unlike Leach, whose works reference ancient Chinese and Japanese ceramics and mediaeval English, Lucie was innovative and inventive.

Until the 25th of June 2023, you can see a good exhibition of Lucie’s works, from her earliest to her later creations, at Kettles Yard in Cambridge. Undoubtedly, her works are of a high quality, both artistically and technically, but I was not particularly excited by the show. A video of David Attenborough interviewing Lucie in her studio interested me far more than her works on display.

By all means visit the exhibition, but in my opinion this is a show for Lucie Rie enthusiasts, rather than for the average exhibition goer.