Barton upon Humber successful in Museum resilience fund bid

By janetuplin |

A project promoting historical Barton upon Humber has received funding worth £66,000 over the next two years.

The money, awarded by Arts Council England’s Museum resilience fund, will see the town’s history move into the modern era and create an enhanced visitor experience, professional marketing, digital presence, and greater exposure to the outside world.

Liz Bennet, of The Ropewalk Museum, said the successful application had been a partnership with the Wilderspin National School supported by the Barton Tourism Partnership.

“We all believe that what we have to offer in Barton is a valuable visitor experience.    This project will put us on the map through increased web presence, greater connectivity through Wikipedia, a more accessible interactive interpretation of the whole town and will raise our profile and make us ready to benefit from national interest in our neighbour’s Hull City of Culture 2017,” she explained.

One aspect of the successful bid is to appoint a Wikipedian in residence for six months to make sure that Barton upon Humber is referenced and linked on line to as many resources as possible.

“For example if you were to look up the Samaritans you would then find that the founder, the late Prebendary Dr Chad Varah CH CBE, was from Barton and then from there it would link to Barton, the house where he lived and its history.” Liz continued

Other aspects of the project include the development of a mobile app so the history of any of the town’s numerous noteworthy buildings can be accessed including  details about its construction and any other interesting facts and employing a heritage marketing professional part time for a year to develop a marketing strategy and audience development plan for Barton’s heritage sites individually and as a whole.

Other aspects would include revising and updating the town’s popular shrink map and developing  a circular trail that links all three museums via buildings of interest.

“As far as we are aware we think that this holistic approach to interpret the history of the whole town is an unusual and new approach to developing the viability and resilience of museums,” Liz added.

Sarah Maxfield, Area Director, North, Arts Council England, said: ‘“Our Museums resilience fund supports museums by enabling them to become more sustainable and robust, whatever their size, and helping them to offer improved experiences for both audiences and artists. I’m delighted that 27 museums across the North have been awarded a total of £3.7 million in this round and look forward to seeing the results of this funding in the future. The Arts Council’s aim is to achieve great art and culture for everyone – the North has some fantastic museums across the area which between them reach thousands of visitors each year therefore greatly supporting us in our mission. ”

 

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The annual Ropewalk Studio Artists Exhibition features work from

David Alcock
Sally Beaumont
Emily Connor
Deborah Grice
Gill Hobson
Richard Hatfield
Judith Land
Tim Needham
Michael Scrimshaw
Reginald Swinney
Shirley Trumble
Keith Woodcock
85 Fathoms

By richardhatfield |

Fair Ground Fables – Michelle Forrest-Beckett

Michelle recalls a frightfully fascinating childhood memory of a former sideshow attraction in Whitby. Her recollection of witnessing a pickled dicephalic baby and the staked bones of Dracula began the blurring of the boundaries between reality and fantasy.

‘Fairground Fables’ was conjured to question the satirical and moral ambiguity of fringe entertainment presented behind the curtains of Vaudeville theatres and Victorian Side Shows. Michelle draws from idioms and fables that play with tales of tragedy and fortune as well as the traces of life that befall the discarded or well loved, by enlivening everyday objects with an air of uncertainty.  She assembles things left behind on dusty shelves, creating magnetic forms that encourage the viewer to take an encounter with the apprehension of things.  ‘Fairground Fables’ is bent with a nostalgic and melodramatic allure that bestows something provocative and enchanting.

 

On November 24 Michelle will be running a workshop teaching participants how to make their own Fairground Fable. Bookings can be made in the Craft Gallery.

By richardhatfield |

Richard Hatfield – Tim Needham

Richard Hatfield & Tim Needhams’ interest in painting stretches back through careers that began just one year apart. Working independently, both find common ground in their references to landscape, yet it is their divergent approaches which spark the dialogue in this show.

I paint out of doors and in the studio. Landscape embodies form, colour and light. Painting can reflect these primal elements and leave us with an object akin to poetry. I play with the picture plane and use paint on various surfaces, abstracted to convey feelings and form with a sense of the drama of the place.
Tim Needham

The subjects are the amalgamation of the remembered, the fleetingly observed and the repeated, emblematic motifs left, like an afterimage imprinted on the retina. I look for a sense of the unfamiliar in the ordinary – a gentle disquiet. Some pieces recall a particular moment or episode, often dramatic and transient such as the effects of light or weather, frequently in the extreme. It is at these times that nature can reassert itself into our consciousness and provide us with a taste of something that is awesome in the true sense of the word. Other paintings are less dramatic and conjure up emotions and associations of particular memories and universal fears from early childhood.
Richard Hatfield

By richardhatfield |

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Max Marschner was born in London in 1929. His early life was interrupted by World War II and evacuation, but in 1943 he enrolled in the Junior Department of Camberwell School of Art. He stayed there until the early 1950s with breaks for National Service and matriculation. He excelled in the design department. These were the wood engraving years.

Throughout his life Max delighted in the unexpected; scenes and buildings which had a tale to tell, or that presented a mood or sharpness which suited his work.

By the beginning of the 1960s he was experimenting with linocuts, monoprints and basic etchings, often using ideas from old postcards and encyclopaedias, which he hoped would depict a sense of surprise and strangeness.

A move to Lincoln at the beginning of the 1970s brought changes. Screenprints was possible: The same ideas, but larger and more colourful prints.

In 1973 Max bought his first ‘real’ camera, a Pentax Spotmatic. This he used for the rest of his life. He enjoyed experimenting with the old ways of photography, developing and printing in his darkroom. Eventually he taught himself Photo Etching. This involved infrared film, large negatives and acids, though changing over the years to safer methods of working.

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ALMANAC – the seasons they rolled in and they tumbled

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ALMANAC

An Almanac can be described in general terms as an annual calander which contains a wealth of information such as important days, times of the sun rising and setting and changes in the moon and tides. In the past the Almanac was particularly important to farmers but perhaps their relevance is somewhat diminished. Ron and Jan have each produced a visual Almanac based on the four seasons and the wheel of the year where they have attempted, in their printed pieces, to re-establish the natural connections of the rolling seasons.

Ron: My Almanac wraps localities and phenomena in folklore and myth, elements within the work are symbolic and at times esoteric. The images in the Almanac are lifted from Anglo Saxon and Medieval almanacs and bending them to a response that will resonate with contemporary audiences. I invite the viewer to create their own narrative.

Jan: My Almanac is in Astronomical Seasons where the equinox and solstices mark the beginning and end of each season. It does, therefore, span two calendar years. Spring, Summer, Autumn and the first month of Winter – December are set in 2018. The remainder of winter – January and February, are in 2019. I am concerned with the equinox, solstice and moon shapes on key dates in each month. The images are a mix of Pagan, Christian and general traditions.

Ron Wilson and Jan Stead October 2018

By richardhatfield |

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By amyh |