The Sense of Place team pointed out to me earlier this week that I had been notably quiet in terms of posting on the project blog. In return I admitted that I had been secretly blogging quite a lot but on another blog that we have recently launched. Readers of the Sense of Place discussion posted here may also be interested to learn about this other ongoing project at the Museum, which culminates this week in the opening of a new temporary exhibition.
The exhibition is entitled What to Look For? Ladybird, Tunnicliffe, and the hunt for meaning and runs from 6 October 2012 until 14 April 2013. It represents the labours of many people including myself and my co-curator in this enterprise, Dr Neil Cocks of the University of Reading’s Department of English Language and Literature. By working with a range of colleagues and specialists, Neil and I have sought to present a diverse range of responses to a single illustration of rural life. Indeed, the whole this focusses on just one small watercolour by the artist Charles F. Tunnicliffe.
This was one of many artworks created by him for Ladybird children’s books. The painting featured in What to Look For in Autumn, published in 1960. This was part of a four-book series printed between 1959 and 1961. It was written by the biologist Elliot Lovegood Grant Watson and charted seasonal change in the countryside.
The original Ladybird artwork is held alongside the collections of the Museum. This juxtaposition inspired us to invite specialists to examine a countryside image. Their responses form the core of the exhibition and together offer different answers to the question of What to Look For. They reveal the diverse stories that one illustration can tell.
This is not simply a history of Tunnicliffe’s artwork or an exploration of the rural history underpinning this particular image but seeks to be much more. Indeed, much like A Sense of Place it aims to stimulate debate and discussion and to raise a wider set of questions concerning what the Museum holds and how these rich resources might best be understood. With this in mind, the project blog related to the exhibition asks its readership how they might choose to look at this image or read the accompanying text? As the exhibition progresses we hope that you will share your responses and join the conversation here.
By way of apology to my Sense of Place colleagues and to you, our enthusiastic readers, for allowing my blogging efforts to be channelled in another direction, I offer you this link to a posting that I made earlier today in relation to the exhibition. It is concerned with the notion of object biographies and with the important role of ‘place’ in governing how we might come to think about the history of and value of material things. It therefore touches directly on ideas that have proven such an inspiration and driving force in this context and stands as testament to the influence that the Sense of Place team themselves have exterted on this parallel project.
I’ll be away for a couple of weeks but I’m sure the project team will be blogging in my absence, and I promise to join in this important discussion when I return. I might still write an occasional post on the other blog too!