Monday Conversation, 30 May 2022, 5-6pm, online. Please register here for the zoom link.
The meanings and resonances of churchyards are multiple and deep. They are a sanctuary of peace at the centre of the community; a focus for local history; a place for prayer, mourning and memorialization. In the eighteenth century they inspired a group of poets looking for new ways to connect with the land and with the past.
Join us for a discussion of exciting new research on churchyards, history and poetry. Ruth Abbott (Cambridge) will take us beyond and behind Thomas Gray’s Elegy, introducing the poet’s unpublished Commonplace-Book notes on historical graveyards, tombs, and sepulchres. James Metcalf (King’s) will offer a new reading of Robert Blair’s The Grave as a piece of land work.
If you’re new to Birmingham, or haven’t visited the campus before, you’ll find there’s lots to explore so you might want to make an afternoon of it. Trains from New Street stop at ‘University’ station, bringing you right to the gate (walk straight in past the Paolozzi sculpture). Stroll through the park-like ‘Green Heart’ and explore the collections at the Barber Art Gallery (open until 5 on Tuesdays). In the Arts Building, you’ll find Peter Lanyon’s fine mural from 1963 – and signs to the lecture room.
Bethan Roberts is the author of Charlotte Smith and the Sonnet (Liverpool University Press, 2019) and her new book Nightingale has recently been published in Reaktion’s ‘animal’ series.
Bethan’s talk is called ‘Sweet harbinger(s) of spring’: Placing the cuckoo and nightingale in poetry‘, and it will consider the traditional poetic rivals the nightingale and cuckoo. Bethan will think about the significance of place and its different meanings in poems on these spring migrants, from matters of habitat and distribution to poetic feeling and beloved ‘pleasant places’.
Francesca MacKenney is the author of Birdsong, Speech, and Poetry: The Art of Composition in the Long Nineteenth Century (forthcoming in 2022 with Cambridge University Press). The book explores what poetry can do and say in comparison with birdsong and music.
Francesca’s talk will explore ‘Birdsong in the Poetry of JohnClare‘.
Monday Conversation 7 February 2022, 6-7pm online. Register here.
Paul Nash, ‘Thirlmere’, 1914.
Why do we value the land? Is it for agriculture and the production of food? For harbouring rich biodiversity? Or for the beauty of the landscape and the opportunity for recreation? These long-debated questions and interests gained urgency at the COP26 climate conference in Glasgow but what role can literature and the arts play in determining the answers?
We have two exciting speakers joining us for a discussion of Place Value:
Dr Christopher Donaldson (Lancaster University) reflects on the racial politics inherent in representations of the British countryside, focusing on the English Lake District;
Dr Pippa Marland (University of Bristol) considers the emergence of a ‘new georgic’ in farm writing of the twenty-first century.
Artist Julie Brook pictured near her home on Skye (Jane Barlow/TSPL).
Over this past summer, Alexandra Harris talked with our Artist-in-Residence Julie Brook about her motivation, her materials, and her methods. Brook is a British artist who creates large scale sculpture. She uses a variety of natural materials and incorporates photography and film to combine wild terrains with classical formalism. Drawing from, with, and in the landscape, Brook has lived and worked in the Orkney Islands, on Jura and Mingulay, and in the Libyan desert. She currently lives on the Isle of Skye. She often travels wide and far for her work, using what she finds in particular landscapes to create new forms and works within those spaces.
In this post we showcase two sections of the conversation, focusing on Brook’s ‘Firestacks’ and ‘Japan’. These, and a further section of the conversation, ‘Labour’, will be screened in-person at the University of Birmingham on 22 November at 5pm. Please do join us if you can. Register here. Come and see Julie’s spectacular images on the big screen! We’ll be making the swish new Teaching and Learning building as much like a cinema as possible…
Firestack, Julie Brook. Jura, West coast of Scotland.
In the early nineties, Brook moved to the remote island of Jura on the west coast of Scotland to paint and draw. Living beneath a natural stone arch, the solitude became part of her art which she then translated into her ‘Firestacks’ series, a body of work which uses rocks to build cairns on the shore, and wood to set fires in them. Eventually, as the tide comes in, the stacks topple and Brook captures the whole transient process on film.
In this video, Brook and Harris explore the rock cairns that Brook now builds every season in the same place; they discuss the process of documenting how each day and each season affects the firestacks differently.
“I first conceived of this work really as the beginning of my sculptural work as well. I was living in a natural arch, I was collecting my water, I was making a fire everyday to cook on. After doing functional building in the arch to make it habitable, I wanted to use those skills and that sensibility to make work.”
The second video concerns Brook’s project in Japan, entitled ‘Ascending’. ‘Ascending’ is a 2019 sculptural response to the ancient working quarry of Kanagaso in the Ishikawa Prefecture. Working on a huge scale in the space of the quarry itself, Brook used the material nature of the stone to give ‘Ascending’ its weight, mass, colour and sound.
In the video, Brook and Harris discuss how Brook’s artistic work within spaces reaches out to the surrounding landscapes, highlighting their own sculptural likeness and giving new life to the space.
“I couldn’t compete with the cliff but I wanted the work to be about the cliff… I wanted the steps to feel like they’d always been there, that they’d simply grown up overnight. It was almost like I was revealing them rather than making them… It’s the whole experience of the environment and the way in which you can ascend the piece to experience that natural amphitheatre that quarries often create, whereby, you change your sense of scale by being able to walk on it.”
Arts of Place is supporting an exciting evening’s conversation at Trinity College Oxford (Monday 8 November 6pm) and an online version with live discussion (Monday 15 November). BBC New Generation Thinkers Lauren Working and Lucy Powell discuss art, literature, and colonialism with art historian Stephanie Pratt. This event is part of the 2021 Being Human Festival.
Please note that unfortunately Alexandra Harris is unable to chair this event, but Lauren and Lucy will take her place in hosting the conversation.
How do you read a feather? How did tobacco, a plant cultivated by Indigenous peoples in the Americas, end up in the playhouses of Shakespeare’s London? How were transatlantic objects altered or incorporated into ‘new’ worlds?
From parrots to sunflowers to chilis, plants and animals from the Americas have reconfigured cultures across the world for over four centuries. This event will examine objects that crossed the Atlantic in the early modern period, illuminating their place in everything from still life paintings to botanic gardens to the writings of the seventeenth-century playwright Aphra Behn. Drawing on literature, art history, and Indigenous perspectives, Lauren Working, Lucy Powell and Stephanie Pratt will follow the journeys of feathers and tobacco to discuss the ongoing impact of colonialism and empire on society and culture in England.
As part of our celebrations at the close of the first year of Arts of Place, we are delighted to welcome leading land artist Julie Brook as our Artist in Residence. Here, we look over Brook’s career and work.
Brook is a British artist who creates large scale sculpture. She uses a variety of natural materials and incorporates photography and film to combine wild terrains with classical formalism. Drawing from, with, and in the landscape, Brook has lived and worked in the Orkney Islands, on Jura and Mingulay, and in the Libyan desert. She currently lives on the Isle of Skye.
Artist Julie Brook, pictured near her home on Skye. PIC Jane Barlow/TSPL.
Brook travels to and dwells within remote regions, spending time inhabiting the landscape either alone or with local guides. These places are usually quite solitary and inhospitable, from caves in the Hebrides to Libyan deserts. From there she makes art that reconnects us with the natural world, in exciting ways, through sculpture and large-scale drawing. From 1989 Julie Brook has been living and working in remote landscapes in Scotland: Hoy, Orkney (1989); the west coast of Jura (1990-94); on the uninhabited island of Mingulay (1996-2011) in the Outer Hebrides. Recently she has been working in different parts of the desert: in Central and South West Libya (2008-09) travelling with Tuareg guides; Syria (2010); NW Namibia (2011-14) travelling with Himba-Herero guides; Aird Bheag, Hebrides and Komatsu, Ishikawa Prefecture, Japan (2015-2022).
Pigment Drawing, poured. Otjize, NW Namibia.
In the early nineties, Brook moved to the remote island of Jura on the west coast of Scotland to paint and draw. Living beneath a natural stone arch, the solitude became part of her art. While living alone and collecting water and fuel for drinking and cooking, Brook began to build artworks using materials found on the island. So became her Firestack series, where she used rocks to build cairns on the shore, and wood to set fires in them as the tide came in. Eventually, the stacks toppled, and Brook captured the whole process on film.
“Brook’s Firestacks are works that we feel could have been made at any time in the past 5000 years, but they have had their pertinence refreshed by the current focus we are putting on the environment. When the tide comes in her artwork has to make its own case against the elements, just as we, in the age of dawning climate change, might still have to.” – Jonathan McAloon for Elephant Art
We are extremely excited to host Brook at Arts of Place this summer. On the afternoon of 23rd June, she will be running a practical drawing workshop for Arts of Place writers and readers. This free workshop will be a chance to explore form and emphasis in a different medium. You can read more about the workshop and reserve your place here.
To celebrate the end of the first year of Arts of Place, we were thrilled to welcome leading land artist Julie Brook to a summer residency with us. Brook registers the infinite drama of the four elements and measures time on multiple scales. She has worked over many years in Libya, Namibia, Japan and Scotland, learning from local communities about the materials of the earth.
Julie ran a free Drawing Workshop on 23 June, 2-5pm and there was no artistic experience required! This was drawing for writers and readers, a chance to explore form and emphasis in a different medium. We worked with charcoal and swapping the usual A4 paper of our working lives for the expansiveness of A1. Julie provided special charcoal and rubbers for those who participate which were sent to participants in the post. It was a treat of an afternoon.
Here are a couple of the participants’ wonderful drawings from the workshop:
William Cowper lived in and around Olney in Buckinghamshire from 1768 to 1795. It was here that he wrote Olney Hymns (1779) (with John Newton), Poems (1782), The Task (1785), and his translations of Homer. The poet’s experience of his immediate surroundings, his close attention to the natural world, and the importance he attached to domestic life gave particular energy and vision to his poetry.
On 3rd and 4th of September 2021, Arts of Place members Andrew Hodgson and Will Bowers hosted a conference at The Olney Centre, focused on Cowper’s career in verse. The event included a visit to the Cowper and Newton Museum where attendees toured Cowper’s home and the beautiful garden in which he worked.
‘William Cowper’ by George Romney (1792)
A range of papers explored formal and stylistic elements of Cowper’s writing (Gregory Leadbetter discussed the ‘exploded couplets’ of the blank verse of The Task; Samuel Diener examined warring lyric and narrative impulses in ‘The Cast-away’; Jessica Fay looked at Cowper’s handling of movement and stillness in the closed stanzas of the Hymns). There were also papers focused on Cowper’s critical heritage (Tim Fulford traced an association of ideas about church-bells from Cowper to Coleridge and the Wedgwood family; Alexandra Harris explored Virginia Woolf’s appreciation of Cowper’s ‘white fire’, while Andrew Hodgson read Cowper’s fear and dread through Donald Davie). Meanwhile, Will Bowers offered a paper on Cowper’s conception of time, Andrew Newell introduced Cowper’s ‘exegetical poetics’, and Tess Somervell presented Cowper as a key poet of the anthropocene.
The highlight of the conference was Fiona Stafford’s lecture on ‘Cowper’s Hare Care’. Cowper owned a number of pet hares but alongside an exploration of his personal attachment to these characterful animals, Stafford showed that a close reading of Cowper’s poetry can open up the extended literary heritage of the hare — a heritage that stretches from John Gay to Seamus Heaney.
The conference also included an informal discussion of the value of teaching Cowper’s poetry at a time when many of his preoccupations have renewed pertinence in the classroom.
Featured image: ‘William Cowper’ by George Romney (1792), National Portrait Gallery
The conference was supported by the British Association for Romantic Studies, British Society for Eighteenth-Century Studies, and Queen Mary University of London
Listen to Alex Harris and Kate McLoughlin talking about Cowper’s poetry here.
Richard Mabey on Gilbert White of Selborne, in conversation with Alexandra Harris
The Summer 2021 Weinrebe Lecture, presented as part of a new collaboration with the Oxford Centre for Life-Writing. Available to listen here now.
Richard Mabey, who celebrates his 80th birthday this year, has been bringing people closer to the natural world since his first books Food for Free and The Unofficial Countryside delighted readers with their subversive outings to the hedgerows in the early 1970s. He is on the side of the weeds that refuse to be tidied; he takes his cues from the playfulness and conviviality of swifts; he gives us all a ticket to join the exuberant ‘cabaret’ of plants.
In this conversation, Mabey reflects on his work as a biographer, and particularly on his long relationship with the great eighteenth-century naturalist Gilbert White of Selborne.
“White is talking about the possibility of birds being parallel citizens”
“I was able to find specific colonies of plants at the precise addresses where White had seen them”
Arts of Place is extremely grateful to OCLW for hosting and producing this lecture recording.