The other day I went along to Pallant House Gallery in Chichester to see the exhibition “Radical Women, Jessica Dismorr and her Contemporaries”. Now I have never heard of Jessica Dismorr and after seeing the exhibition, I am a little wiser.
For those who (like me) had never heard of Dismorr, she was a painter and illustrator working mostly between 1912 and 1937 and was a participant in most of the avant-garde groups during that time. She was one of only two women in the Vorticist movement and exhibited also with the Seven and Five Society, Allied Artists Association and the London Group, as well as contributing to Rhythm magazine, an avant-garde publication founded in 1911 promoting innovative art, music and literature and critical theory. Dismorr was a devoted follower of radical politics and her close friend Robin Ody (and executor of her Will) described her as being “the Edwardian phenomenon of the new woman”. During WW1 she worked a s a nurse and later served as a bilingual field officer with the American Friends Service Committee. After the war she was in the mainstream of the avant-garde world being friends with T S Eliot and Ezra Pound. In the early 1920’s she travelled extensively through Europe. In 10920 she had a nervous breakdown and was advised not to paint, although her friend, the painter Wyndham Lewis suggested that painting was exactly what she should be doing. After this time her work became gradually more and more abstract up to her death in 1939 a few days before the outbreak of WW2.
Other lady artists featured in this exhibition include fellow Rhythmists Anne Estelle Rice and Ethel Wright, Vorticist Helen Saunders alongside Barbara Hepworth and Winifred Nicholson. It all makes for an intriguing exhibition featuring female artists who, although prominent in their time have largely been forgotten.
Radical Women, Jessica Dismorr and her Contemporaries is at Pallant House Gallery, Chichester until 23 February 2020
Tucked away behind the cricket ground in Guildford are the Wey Navigations. Opened in 1653, the site was dominated by two boat building families the Stevens and the Edwards but is now owned by the National Trust. This compact property offers an interesting snapshot of a what traditional barge building yard was like. It has been over a decade since I last visited and much has changed including the addition of the Wey barge Reliance, built at Dapdune between 1931-2 and which sank in the Thames after striking a bridge. It was acquired by the NT it is now moored at the Wharf for visitors to board and sample cramped, dark conditions that made up everyday life for watermen. Various outbuildings and old stores provide an array of information panels and interactive exhibitions including model navigation system and the block and tackle weight lifting exhibit, where three 56lbs weights are attached to different lifting methods to demonstrate how difficult and easy it can be to lift the same weight. The complex is very child friendly and would make an excellent schools visit, with plenty of activities available for families.
day I visited was the final day of an exhibition by 4 graduate students at UCA
Farnham, titled ‘Tumblehome’ it is the result of how these four artists reacted
to the surroundings, history and traditions of the wharf. I found out about this exhibition by
accident, and being a huge fan of site specific artwork, was curious to see
their ideas. There was disappointment
from the start as there was no information available at the entry kiosk, now it
may be because it was the last day of a month long exhibition, but the
reception staff didn’t make any mention of it when they spoke about what there
was to see on site.
couple of inconspicuous ‘A’ frame poster boards signalled where artworks were sited, but I
almost missed the largest exhibition area completely as it was so
inconspicuous! A quick check on the NT
website revealed a short section about the project and the inevitable self-important
verbose statements by each artist. Of
all the work on show, the digitally printed papers and fabric of Noelle
Genevier, I felt were the most engaged and relevant pieces on display. I have to confess that the large piece of
canvas and rope suspended from a makeshift wood frame did little to provoke any
questions, while the slideshow running in the background opposite was pretty
standard stuff, modern photographs interspersed with archive images presumably
drawing comparisons to how the use of the wharf has changed from industry to
pleasure. The quirkiest piece was the
installation of cottage shaped teapots on show in the Smithy and the giant
papier mache teapot in the main exhibition area and which apparently draws
attention to our relationship with tea and comfort, a comment I am assuming, on
the changing nature in use of the site from industrial workplace to leisure
most of the labelling of the artworks had disappeared and in the absence of any
other information I think that most visitors would have found it all very hard
to engage with. This is hugely
disappointing and a massive missed opportunity.
Art is a fantastic way to draw attention to an historical collection or
site and to engage a more diverse audience than may usually be expected. Overall I suspect that the students were not
given enough time to work on this project alongside their degree show work
which is a shame, although I feel that some of the work missed the mark in
terms of thinking and display. Still,
there is always next time.