1

The Land Between Us : Power, place and dislocation

25 September – 23 January 2010

Educators’ Resource

Contents INTRODUCTION TO THE LAND BETWEEN US PAGE 3 THE RELATIONSHIP BETWEEN SELECTED WORK PAGE 4 OLAFUR ELIASSON & ALBRECHT DÜRER PAGE 5 ROMUALD HAZOUMÈ & THOMAS HEARNE PAGE 8 LARISSA SANSOUR & WILLIAM HOLMAN HUNT PAGE 11 NIKHIL CHOPRA & JOHN ROBERT COZENS PAGE 14 WILLIE DOHERTY & SAMUEL PALMER PAGE 17 DONOVAN WYLIE & TURNER PAGE 20 OTHER ARTISTS IN THE LAND BETWEEN US PAGE 23 FURTHER INFORMATION ABOU THE LAND BETWEEN US ARTISTS PAGE 24 OPTIONAL EXTRAS PAGE 30

2

Introduction to The Land Between Us

The Whitworth has thousands of pictures in its collection that are classed as ‘landscapes’. Most of these drawings, watercolours, prints and paintings were made in the eighteenth and nineteenth centuries by British artists. This preoccupation with place shows how, at the height of its power, the British Empire turned its gaze upon its homeland with wonderment and awe, looking inwards towards its imperial centre and picturing the mountains, rivers and fields that it found there.

But art isn’t the same as history, it’s about the making of ‘things’ whose only purpose is to be looked at, experiences and though about. Art is good at waiting. As marks and stains on paper or flickerings on a screen its symbolic energies cross time to be made ‘new’ by readings which are individual and cultural, as well as historical. Here, in the time frame of this exhibition, the art of the past and that of the present live side by side and address us in a new way. Through their confrontations and collaborations, they offer us a space within which we can create new meanings. This exhibition invites us to explore versions of landscape in a radical new way.

3

The relationship between selected artworks

The exhibition provides interesting pairings between several works. For this Education Pack, the focus will be on the artists listed below:

Nikhil Chopra - J R Cozens Willie Doherty - Samuel Palmer Olafur Eliasson - Albrecht Durer Romould Hazoume - Thomas Hearne Larissa Sansour - William Holman Hunt Donovan Wylie - JMW Turner’s

4

5

Olafur Eliasson Albrecht Dürer

The Knight, Death and The Devil, 1513

The Forked Forest Path, 1998

Olafur Eliasson and Albrecht Dürer

6

These two works set the tone for the exhibition as they are geographically and conceptually the first encounter for the visitor. Both artworks are set in the forest, a place where the unexpected can happen. On seeing Dürer’s Knight, Death and the Devil, the work acts as a challenge to the viewer - dare you enter the Forest like many a brave Knight has done in the past to face the hidden depths?

Dürer’s Knight, Death and the Devil Durer’s Knight is an engraving from a copper plate. The image of a rider appears in many of his works. The rider bears a resemblance to Dürer’s St George from 1508. However, this rider has allowed his horse to rest after the work has been finished while the Knight carries on unperturbed through danger.

The dauntless Christian knight is followed through a rocky tangled landscape by his faithful dog, but harassed by Death, a rotting cadaver, on his mule and holding an hourglass representing the passage of time, while the Devil, made up of various animal parts slinks alongside. The knight, however, looks straight ahead, for he is the Christian Knight who is not deflected from his goal of heavenly Jerusalem, high up in the distance.

7

The road there is rocky and steep, but he will not be waylaid by the temptations of the Devil. The magnificent horse exemplifies ideal equine proportions, its head adorned with oak leaves representing fortitude in faith. The dog is an image of fidelity and strength while the fox-tail is a symbolic trophy of victory over deceit. The armour can be read as moral, enabling the knight to ride past sin and death, while the fortress in the distance is the faith in God that sustains him. For the humanists, knighthood was an expression for an antiquated feudal system, and Durer in no way meant to glorify knighthood.

The Forked Forest Path installation is a loan from The Towner Gallery, Eastbourne. The loan comprises of an A4 sheet of instructions that have been carefully followed to ensure that the Forest has been recreated to the artist’s specifications. This involved sourcing saplings from woodland around Ellesmere Port. The saplings have been secured in the gallery to create the illusion of a forest setting. As viewers step into this environment, they experience its light, shadows, texture and distinctive scent as if it were real, while simultaneously knowing that it can’t be so. It is this moment of disjuncture that interests the artist, the point at which subject and object become imperceptibly reversed. By calling into play natural phenomena, the artist stimulates spectators to reflect on their ability to comprehend and perceive the physical world around them.

And from there they leave (Bouche du Roi), 2007

St Christopher’s: The Salt Pond, part of St Christopher’s and Nevis from the Shore at Basseterre, 1775-1776 8

Romuald Hazoumè

Thomas Hearne

Romuald Hazoumè and Thomas Hearne

9

Whilst viewing these art works, Hazoume’s set in Africa from where men and women left their native country to Hearne’s set in St Kitts which would be the slaves destination, one can’t help imagining the feelings evoked when leaving freedom for slavery, and the legacies that brings.

Romuald Hazoume is one of Africa's leading visual artists. He has worked with many media throughout his career, from discarded petrol canisters, oil paint and canvas, to large-scale installation, video and photography. His work has been exhibited internationally since the late 1980’s and has won widespread critical acclaim. His practice deals with the social and political history of not just Benin, but of Africa and Africa’s dynamic, ever changing role.

Hazoume resides and works in Benin, using the land and history as a source of inspiration for his work. The whole thrust of his work is to show how historical patterns of exploitation and unequal trade are repeated today in continued greed, poverty and enslavement.

10

And from there they leave (Bouche du Roi), is literally translated as 'The Mouth of the King'. The title refers to a place in Benin from where many thousands of slaves were transported to the Americas and the Caribbean. 'La Bouche du Roi' is where the sea also brings things to the land. Depicting the site as it is today, this panoramic photo evokes an eerily haunting landscape, which has is free of human presence, with the exception of a few children. The photographs inform us of the everyday reality of Benin today where slavery is the recurrent theme. Not the historical slavery of the dominant western powers in search of cheap labour, but more modern equivalents that see young children still sold daily into slavery as cheap labour.

Hearne, an English painter and engraver, was employed to mark Sir Ralph Payne’s stewardship of the Leeward Islands and recorded the social, cultural and military life of the West Indies at this period. St Christopher's, now known as St Kitts, was the most productive of the Leeward Islands during the eighteenth century, and was especially renowned for its high quality sugar. St Christopher’s was one of a series of twenty large watercolours, which reflected the two fears of the white West Indians: the threat of French seaborne attack from nearby Martinique or Guadeloupe and the insurrection among the expanding slave population when there was a growing disquiet about slavery. Hearne usually worked in wash or subdued watercolours over a fine but clear outline introduced in pencil, pen or brushpoint.

Larissa Sansour William Holman Hunt

11

Soup Over Bethlehem, 2006

Video, 9 mins 30 seconds

The Plain of Rephaim from Zion, Jerusalem, 1855 and 1860

Watercolour, bodycolour on paper

Larissa Sansour and William Holman Hunt

12

Both Sansour’s Soup over Bethlehem and Holman’s The Plain of Rephaim from Zion, provide interesting ways to consider politics and religion. Bethlehem is a Palestinian city in the central West Bank – 5 miles from Jerusalem. To the south of Jerusalem there is the valley of Rephaim. Jerusalem is surrounded on three sides with deep valleys on the south, east and partially the west. So whilst enjoying a soup of mloukhieh, the Sansour family may potentially see Jerusalem in the distance.

Soup Over Bethlehem, depicts an ordinary Palestinian family, Sansour's own, around a dinner table on a rooftop overlooking the West Bank city of Bethlehem. What starts as a culinary discussion about the national dish mloukhieh being served from a soup bowl soon evolves into a personal and engaging conversation about politics - thereby emphasising the symbiosis of food and politics so indicative of the Palestinian experience.

Sansour’s work is interdisciplinary, immersed in the current political dialogue and utilises video art, digital photography, experimental documentary and the internet. Sansour’s work has been exhibited worldwide in galleries, museums as well as film festivals.

13

Her work is mostly informed by the Palestinian situation, trying to set the viewer off balance, breaking stereotypes of ethnicity as well as clichés in the frame work of art display.

Mloukhieh or Jew’s mallow is the leaves of jute used as a vegetable in Middle Eastern, East African, North African, and South Asian cuisine. It is a rather bitter herb with a natural thickening agent.

Holman’s painting The Plain of Rephaim from Zion, Jerusalem, is probably looking down over the Valley of Hinnom. In Jewish folklore it was seen as a place of destruction which had a ‘gate’ which let to a molten lake of fire and according to parts of the bible it was a place where false gods sacrificed their children. This may explain why the man depicted in the painting is turning away and cradling the child in anticipation of a threat.

Hunt was an English painter, and one of the founders of the Pre-Raphaelite Brotherhood. They sought to revitalise art by emphasising the detailed observation of the natural world in a spirit of quasi-religious devotion to truth. This religious approach was influenced by the spiritual qualities of medieval art. Hunt also painted many works based on poems, such as Isabella and Lady of Shalott. His paintings were notable for their great attention to detail, vivid colour and elaborate symbolism.

Nikhil Chopra John Robert Cozens

14

Yog Raj Chitrakar: Memory Drawing X 2010 Seven Grand Tour

Sketchbooks 1782 pencil and watercolour on paper

Nikhil Chopra and John Robert Cozens

15

Both carry their sketches – one a series of books, the other a huge calico canvas in which to record their journeys. One is commissioned to record the scenes, images and journey, whilst the other is a free man recording his personal observations on a specific journey from North to South Mumbai Cozens accompanied William Beckford on his second Grand Tour to Italy. The Beckford Sketchbooks, pictorially record the tour through Italy until the return to England in 1783. The seven volumes contain 193 sketches from nature of views in Austria, Italy and France. Almost all are dated and inscribed with details of the subjects. William Beckford was one of the most avid art collectors in England at the time and had studied under Cozens father, Alexander, prior to their fall out.

The Grand Tour was the traditional travel of Europe undertaken mainly by upper class young men during the seventeenth to mid-nineteenth Century. It was seen as an educational rite of passage, where predominantly British nobility learnt about art, culture and the roots of Western civilisation.

16

Yog Raj Chitrakar: Memory Drawing X is inspired by a walk from the North to the South of Mumbai. Mumbai, originally Bombay, is the commercial capital of India. It consists of two distinct regions: Mumbai City district (South) and Mumbai Suburban district (North). Chopra carries out the walk through Mumbai as the character Yog Raj Chitrakar, a Victorian draughtsman, where the performance takes part in the street and is documented through charcoal drawings and photography. The installation suggests the many ways in which the history and reality of a location impact the artist’s execution of characters though costuming, gesture, and action.

Chopra haunts bustling markets, forgotten old buildings, city streets, and parks to make large-scale drawings. Within the performances, daily actions—washing, eating, drinking, sleeping, dressing, shaving, and observing—are transformed into ritualistic spectacle. Yog Raj Chitrakar reveals the process of documenting what he sees while exploring self-portraiture, autobiography, history, fantasy, and sexuality.

John Robert Cozens was an English draftsman and painter of romantic watercolour landscapes. He studied under his father, the drawing master and watercolourist, Alexander Cozens. Cozens executed watercolors in curious atmospherical effects and illusions which had some influence on J.M.W. Turner.

17

Willie Doherty Samuel Palmer

The Cottager’s Return, c. 1833

Pencil, watercolour on card

The Visitor, 2008

DVD, colour, sound, 10 mins

Willie Doherty and Samuel Palmer

18

There is a haunting quality to both Willie Doherty’s The Visitor and Samuel Palmer’s The Cottager’s Return. In each work there is a sense of someone, but this remains unclear, leaving you searching for clues – a light in the window is the only confirmation of a human presence.

The Visitor is a video installation, which was shot on location in Belfast in early 2008 and revisits some of Doherty's recurrent themes and preoccupations with place, landscape and memory. The camera moves between the trees of a small forest and scrutinises the surfaces of a block of flats. The Visitor features an enigmatic figure whose intentions and origins are unclear. The work is driven by a voiceover that speculates about the role and nature of the unnamed visitor.

Doherty is an Irish photographer, video artist and installation artist. His work in the late 1980s often combined black-and-white topographical images overlaid with texts. He is interested in the ambiguous and contradictory meanings that images can suggest. Doherty has sustained an engagement with the political conflicts in Northern Ireland and a specific interest in his home town of Derry. His art relates directly to the complexities of living in a divided society.

19

Much of Doherty's work refers to an undercurrent of fear, oppression and uncertainty that for many has been a daily experience of life in Northern Ireland over the last three decades, whilst revealing a deep mistrust of the journalistic medium.

In The Cottager’s Return, the time of day is twilight where a crescent moon in its first quarter hangs by trees in a lead-blue sky. Corn grows to the left and right of the cottage. At first it isn’t apparent that there are people, but slowly figures emerge - a child can be seen pulling another child in a go-car, and a woman walking from the corn towards a cottage among the trees. A warm glow of light shines from the window. A shining river winding in a distant landscape can just be seen at the bottom of the scene. All this becomes visible as the viewer’s eyes survey the tiny scene.

Palmer was a key figure in English Romanticism and produced visionary pastoral paintings. Palmer painted churches from around age twelve, and first exhibited Turner-inspired works at the Royal Academy at the age of fourteen – all with little formal training. William Blake's influence can be seen in the works he produced following their meeting, which are generally seen as his greatest. These works were of landscapes around Shoreham, near Sevenoaks in the west of the county of Kent, depicting the area as a demi-paradise, mysterious and visionary, and often shown in sepia shades under moon and star light.

20

Northern Ireland, South Armagh, Golf 40, West View, 2006

Photograph

Donovan Wylie J M W Turner

Conway Castle, Caernarvonshire, Wales, 1801-2

Pencil and watercolour

Donovan Wylie and JMW Turner

21

Throughout history there has been a need to observe the surrounding lands to ensure that your home is safe. Whilst this seems fine to protect a community, questions are raised when the observation employs a ‘Big Brother’ approach. The viewer is asked to consider these questions when looking at both the watchtower and castle.

For a period of over a year, Donovan Wylie photographed the borderland watchtowers in Ireland. Working entirely from an elevated position enabled by military helicopter he created a systematic survey of the towers, their positions and perspectives within the landscape.

Intelligence gathering was the function of the watchtower named Golf Four Zero (G40) on Croslieve. Until 2000, there were twelve hilltop sites with one or more watchtowers, rectangular structures up to fifteen metres high, built upon them. Watchtowers are an ancient architectural form, as old as war itself. Temporary fortifications will always have some kind of lookout post and watchtowers are a recurring structure within all permanent works, both old and new.

22

Donovan Wylie took up photography in his teens and at the age of 16, he left school to pursue his photographic career, embarking on a three month journey around Ireland that resulted in the production of his first book, 32 Counties. He has completed various photographic and film projects exploring the religious identity, history and the concept of territory in Northern Ireland and ‘The Troubles’, post-ceasefire.

Turner used Wales as his inspiration in the first 10 years of his career 1790-1800 when he made the watercolour painting of Caernarvon Castle. Edward I of England commissioned the construction of a series of castles along the coastline of Wales, including Caernarvon Castle, to protect England from the Welsh. Parallels can be made between the observation structures in Wylie and Turner’s artworks, where the English built towers and castles to gain intelligence for protection from potential uprisings.

J M W Turner was an English Romantic landscape painter, watercolourist and printmaker. Turner was considered a controversial figure in his day, but is now regarded as the artist who elevated landscape painting to an eminence rivaling history painting. Although renowned for his oil paintings, Turner is also one of the greatest masters of British watercolour landscape painting. He is commonly known as "the painter of light" and his work regarded as a Romantic preface to Impressionism.

Other artists in The Land Between Us

23

Black Audio Film Collective Handsworth Songs, 1986 Vija Celmins b. 193 Ocean Surface Woodcut, 1992 Jacqueline Donachie b. 1969 Green Place, 2004 Cyprien Gaillard b. 1980 Belief in the Age of Disbelief

(Harlem), 2005 Li Yuan-chi 1929 – 1994 Five Unique Photographs, 1993 Erkan Ozgen b. 1971 Breath, 2008 Chen Qiulin b. 1975 The Garden, 2007 Vincent Van Gogh 1853 – 1890 The Fortifications of Paris with

Houses, 1887 Francis Wheatley 1747 – 1801 Gypsy Encampment, date unknown James Abbott McNeill Whistler 1834 - 1903 The Unsafe Tenement, 1858 Rachel Whiteread b. 1963 Demolished B: Clapton Park Estate,

Mandeville Street, London E5; Bakewell Court, Repton Court; March 1995 1996

Thomas Whittle II 1865 – 1885 Gypsies on Dartford Heath, Kent, c. 1875

Further Information about The Land Between Us Artists

Black Audio Film Collective Eshun, Kodwo and Sagar, Anjalika, (ed), (2007), The Ghosts of Songs: the film art of the Black Audio Film Collective, Liverpool University Press, Liverpool. www.blackaudiofilmcollective.com/ www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=99611&searchid=15979 www.screenonline.org.uk/people/id/502424/ http://video.google.co.uk/videoplay?docid=334698694932998471

Vija Celmins Celmins, Vija, (2004), Vija Celmins, Phaidon, London. Larsen, S. C, (1980), Vija Celmins: A Survey Exhibition, Hudson, New York. Lingwood, James (ed), (1996), Vija Celmins: works 1964-96, Institute of Contemporary Art, London. Rippner, Samantha, (2002), The Prints of Vija Celmins, Yale University Press, New Haven. http://www.youtube.com/watch?v=tORoyCJtO4o www.tate.org.uk/tateetc/issue9/thinkingdrawing.htm http://www.frieze.com/issue/review/vija_celmins/ http://www.nationalgalleries.org/collection/ar_home/4.../4989

Nikhil Chopra Flash Art, January-February 2008, p.110-119. http://www.grosvenorgallery.com/artist_profile.asp?id=1151 http/::www.serpentinegallery.org:2008:06:performance_nikhil_chopra_10am.html http://www.chatterjeeandlal.com/nikhil_chopra.html 24

John Robert Cozens Bell Charles F. and Gertin, Thomas, (1935), The Drawings and Sketches of John Robert Cozens, The Walpole Society, Oxford. Oppe, A. P, (1952), Alexander and John Robert Cozens, London. http://www.whitworth.manchester.ac.uk/collection/

Jacqueline Donachie SummerWalk,JacquelineDonachie,2003ISBN0954654501SomewheretoStandSelectedProjects1994‐2003,JacquelineDonachie,TalbotRiceartCentre,

UniversityofEdinburgh,2001ISBN1873108370/1‐873108‐37‐0 http://www.glasgowinternational.org/index.php/artists/view/jacqueline_donachie/ http://www.artandresearch.org.uk/v2n2/hannula2.html http://www.mapmagazine.co.uk http://www.artfacts.net/en/artist/jacqueline-donachie-141251/profile.html

Willie Doherty http://www.kerlin.ie/artists/Willie-Doherty.aspx http://www.tate.org.uk/britain/turnerprize/2003/doherty.htm

Albrecht Dürer Dodson, Campbell, (1967), Albrecht Dürer: Engravings and Etchings, Da Capo, NewYork. Hind, Arthur. M, (1911), Albrecht Dürer, William Heinemann, London. Horst, Michael, (1987), Albrecht Dürer; the complete engravings, Berghaus Verlag, West Germany. http://www.artcyclopedia.com/artists/durer_albrecht.html http://www.ibiblio.org/wm/paint/auth/durer/ http://www.albrecht-durer.org/The-Knight--Death-And-The-Devil.html

25

Olafur Eliasson Eliasson, Olafur, (2001), Surroundings Surrounded, MIT Press, Massacheusetts. Grynsztejn, Madeleine, (ed), (2007), Olafur Eliasson, Thames and Hudson, New York. Medvedow, Jill, (2004), Vita Brevis: History, landscape and art 1998-2003, Thames and Hudson, New York. Pressplay, (2005), Contemporary Artists in Conversation, Phaidon, London. Rocca, Alessandro, (2007), Natural Architecture, Princeton Architectural Press, New York. www.eastbourne.gov.uk/council/meetings/conservation/?assetdet=34710&category=1474 www.nycwaterfalls.org/ www.olafureliasson.net www.tate.org.uk/modern/exhibitions/eliasson/default.htm

Cyprien Gaillard Artforum, February 2009, p.173-175. Flash Art International, October 2007, p.122. Frieze (London), April 2010, p.85-87. www.bugadacargnel.com/en/pages/artistes.php?name=6564&page=portfolio&categ=38 www.laurabartlettgallery.co.uk/admin/uploaded_files/Cyprien%20Gaillard_CV.pdf

Romuald Hazoumè Magnin, Andre and Soulilou, (ed), (1996), Contemporary Art of Africa, Harry N Abrams Inc, London. Spring, Christopher, (2008), Angaza Afrika: African Art Now, Laurence King, London. African Arts, Winter 2008, p.74-81. Whitworth Archive. www.aestheticamagazine.com/gfx/18romuald.pdf www.caacart.com/html/Romuald-Hazoume-african-art.html www.octobergallery.co.uk/artists/hazoume/index.shtml

26

Thomas Hearne Morris, D and Milner, B, (ed), (1985), Thomas Hearne, 1744-1817: Watercolours and Drawings, Bolton Museums and Art Gallery, Bolton. www.artfund.org/artsaved/search/artist/h/3356/Thomas+Hearne

William Holman Hunt Bronkhurst, Judith, (2006), William Holman Hunt: a catalogue raisonne, Yale University Press, Connecticut. Hunt, William Holman, (1905), Pre-Raphaelitism and the Pre-Raphaelite Brotherhood, Macmillan, London. Lochnan, Katherine and Jacobi, Carol (ed), (2008), Holman Hunt and the Pre-Raphaelite Vision, Art Gallery of Ontario, Toronto. Walker Art Gallery, (1969), William Holman Hunt: an exhibition organised by the Walker Art Gallery, Walker Art Gallery, Liverpool.

Li Yuan-chia Li Yuan-Chia Book: Tell me what is not yet said, Guy Brett & Nick Sawyer, InIVA http://www.lycfoundation.org/space/ http://www.bbc.co.uk/programmes/b00pcf5j ww.tate.org.uk/servlet/ArtistWorks?artistid=7467&page=1 http://www.iniva.org/library/archive/people/y/yuan_chia_li

Erkan Ozgen Third Text, September 2006, p.619-621. Third Text, January 2008, p.113-121. www.erkan-ozgen.blogspot.com www.iksv.org/bienal11/sanatcilar_en.asp?sid=51 www.turkishculture.org/person_detail.php?ID=1177

27

Samuel Palmer Grigson, Geoffrey, (1947), Samuel Palmer the visionary years, Kegan Paul, London. http://www.britishmuseum.org/explore/online_tours/britain/samuel_palmer/samuel_palmer.aspx

Chen Qiulin Artforum, April 2006, p. 237-238. Artforum, December 2007, p. 284-287. www.artnet.com/artist/424472787/chen-qiulin.html www.chartcontemporary.com/artist_chen_qiulin.html www.asiapacificarts.usc.edu/article@apa?a_series_of_critical_eulogies_the_experimental_films_of_chen_qiulin_1880.aspx

Larissa Sansour Kunstforum International, January-March 2009, p.278-283. www.brooklynmuseum.org/eascfa/feminist_art_base/gallery/Larissa_Sansour.php?i=2214 www.kunstdk.dk/kunstner/larissa_sansour www.saatchi-gallery.co.uk/blogon/view_video/1394/larissa_sansour_soup_over_bethlehem www.sakakini.org/visualarts/sansour.htm

JMW Turner J.M.W.Turner:TheManWhoSetPainCngonFire,OlivierMeslay,Thames&HudsonISBN9780500301180 ibiblio.org/wm/paint/auth/turner http://www.tate.org.uk/britain/turner/ http://www.metmuseum.org/special/se_event.asp?OccurrenceId=%7B2BE69841-EA62-4A5C-B1E6-0AD0D8B7BE7D%7D http://www.nga.gov/exhibitions/turnerinfo.shtm

28

Vincent Van Gogh Vincent Van Gogh: The Drawings (Metropolitan Museum of Art) by Colta Ives, Susan Alyson Stein, Sjraar Van Heugten and Marije Vellekoop, Yale University Press (15 July 2005) ISBN-10: 030010720X Van Gogh: The Master Draughtsman by Sjraar van Heugten and Marije Vellekoop ISBN-10: 0810958481 http://www.vangoghmuseum.nl

Francis Wheatley Francis Wheatley (by Mary Webster). London. Routledge & Kegan, 1970. The Paul Mellon Foundation for British Art. http://ycba.yale.edu/information/pdfs/mediakits/05-wheatley.pdf

James Abbott McNeill Whistler Black, Peter, (2003), Copper into Gold, Hunterian Art Gallery, Glasgow. Lochnan, Katherine A, (1988), Whistler’s etchings and the source of his etching style 1855-1880, Garland, New York.

Rachel Whiteread http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=2319&tabview=bio http://www.independent.co.uk/arts-entertainment/art/features/rachel-whiteread-ive-done-the-same-thing-over-and over-2068718.html

Donovan Wylie Purbrick, Louise, (2007), Donovan Wylie: British Watchtowers, Steidl, London. http://www.belfastexposed.org/exhibitions/index.php?show=past&year=2007&exhibition=45 87 http://www.photography-now.com/artists/K09731.html 2004 The Maze, Granta, UK 1998 Losing Ground, 4th Estate, UK 1994 Notes from Moscow, Picador, UK 1994 Ireland: Singular Images, 2003 Jesus Comes To London, Channel 4/October Films 2002 The Train, Channel 4/October Films. (BAFTA: Best New Director for Factual Film) 2002 YoYo, Channel 4/October Films Donovan Wylie is also a one-time Northern Ireland yo-yo champion. 29

Optional Extras

FREE TOURS: Knowledge Series

For Secondary and Post-16 students

These tours are led by Art History Undergraduates from the University of Manchester and the University of Salford. The tours last approximately 45 minutes.

Please book in advance tel. 0161 275 8455 e-mail denise.bowler@manchester.ac.uk

Bespoke Practical Workshops The Land Between Us Cost: £90 half-day, £180 full day

Using Sketchbooks Explore the potential of using and personalising your sketchbook.

Experimental Printmaking Research the collections and transform your drawings into prints using a range of techniques.

30