PUBLIC ART AT RISK - two of many

Huddersfield Articulation in Movement

The PMSA strongly supports the move to preserve Huddersfield’s Queensgate Market and Articulation in Movement, the unique ceramic panels on its façade. A letter of protest has been sent to Planning and Building Control at Kirklees Council, and advice about recording the works offered to the market’s campaign group, Huddersfield Gem. The group states:

The Queensgate façade of the market hall displays five roof shells with patent curtain wall glazing with glazing bars synchronised with the roof lines. Below, it is decorated with ceramic panels by Fritz Steller of the Square One Design Workshop of Snitterfield, Stratford upon Avon. The enormous relief panels (16' x 17') are proud between Elland Edge ashlar and over stone sneck cladding. The panels continue across the façade of the adjoining market hall shops, to make nine panels in all. To the right hand end is the later much bigger and double-sided tenth panel through which passes the staircase that rises from Queensgate to the Piazza.

The work was said to be the largest ceramic sculpture in the world, being made from 50 tons of Stourbridge fire clay fired in a specially built reduction kiln at Snitterfield to biscuit temperature, making them acid rain- and chemical-resistant. The rust-brown colouring of the panels came from iron and manganese oxide. The work is entitled "Articulation In Movement".

The PMSA argues that public art erected after WWII is subject to more risk than many other periods. Queensgate Market is certainly one of the most prominent manifestations of what one might call a heroic modernism which is steadily becoming rarer throughout England. Local authorities need to be aware that some of their cultural ‘assets’ can easily be lost or compromised if they are not amenable to sensitive change which can protect such artworks whilst allowing more efficient and commercial structures. Architects should relish the chance to be involved with such a design challenge incorporating this unique character.

Worthing Desert Quartet

Desert Quartet, Elisabeth Frink’s ensemble at Worthing which was approved for Listing at Grade II* on 10 May, 2007, remains the subject of a reversal appeal by the Avon Group. It is they who gave it to Worthing in perpetuity (and in exchange for planning gain) in 1989, and they who are still scheming to take it away. The Twentieth Century Society, supported by the Worthing Society and the PMSA, is vigorously pursuing the case for maintaining the Listed status of this unique work of art, so that it can stay in the location for which the sculptor created the ensemble, her penultimate commission. The ball, at present, is in the court of English Heritage and the DCMS.

Nationwide: BRITAIN’S UNKNOWN ART TREASURES BEING CARTED AWAY

Click here to see Ian Leith’s article for the Art Newspaper, ‘Britain, a nation casual about one of its greatest cultural assets’

The PMSA is extremely concerned about the increase in the rather selective removal of key pieces of public art. The recent publicity surrounding the theft of the Henry Moore in Hertfordshire and the Lynn Chadwick in Roehampton has prompted the need for a national forum where issues of security and conservation can be properly assessed - despite today's prevalence in erecting pieces of public art it is striking that, apart from networks concerned with antiques on private property, no such forum purely devoted to public sculpture currently exists in Britain. Without channelling such communications about the apparently increasing risks in the public realm there is little that can be done to combat this worrying trend. However, the PMSA has contacted Simon Thurley at English Heritage, which has initiated discussion with EH personnel on how to respond to this problem and how best to involve the police, insurance and other organisations whose role it is to alert owners [and the public] to what can only be called public art theft.

Welcome publicity Channel Four aired an interview with Save our Sculpture Chair Ian Leith just before Christmas last year. As Leith says, ‘This form of cultural looting questions security, heritage bodies, arts funding, and insurance concerns’.

Any information from PMSA members, or member of the public, which could inform such discussions are welcome – we are well aware of vandalism but more information about the complete removal of entire pieces (especially outside London) and of sculpture or monuments below these high-profile levels would allow us to begin to understand the underlying motives. In conjunction with existing records generated by the National Recording Project such details (including war memorials) would provide a useful context since it is by no means clear whether media stories about the scrap value of bronze do actually constitute the sole or sufficient reason for the removal of public assets. Please contact Jo Darke on jo.darke@courtauld.ac.uk

Public art theft

A meeting was hosted by Tate Britain in February, attended by conservation and security representatives from there, and by members of other like-minded organisations such as WMT and UKNIWM. Discussion included the Rise of Public Art Loss, Recording (sources and mechanisms), Security (including electronic tagging and tracking), Liaison & Feedback across the sector (private and public) and the Pros and Cons of Publicity. Also discussed were motives for theft including the value of materials and the international art market. A report on this important meeting will go online shortly. Held at the War Memorials Trust, attended by representatives from WMT, the UK National Inventory of War Memorials (UKNIWM) and the PMSA to seek a unified approach to this escalating problem. Leith has also set up a more broadly ranging meeting, to be hosted by Tate Britain and attended by conservation and security representatives from there, and by members of other like-minded organisations such as WMT and UKNIWM. The suggested agenda for discussion will include the Rise of Public Art Loss, Recording (sources and mechanisms), Security (including electronic tagging and tracking), Liaison & Feedback across the sector (private and public) and the Pros and Cons of Publicity. Also to be discussed – the motives for theft including the value of materials and the international art market. We will report on these meetings in the next edition of 'Spice.

Milton Keynes: Congratulations on your first 40 years, but...but...

As part of your celebrations, will you be reflecting on your invaluable collection of public sculpture, planned as an integral part of the new town four decades ago? Leading sculptors of the time were commissioned (Schottlander, Frink, for example), and enhanced the landscape of the developing town. On today's Today programme (23 January), the architectural writer Jonathan Glancey discussed the 40-year-old MK with planner David Lock without once mentioning the words public sculpture. Does this reflect the neglect and trivialisation of public sculpture even in today's climate of regeneration? We appear to be moving backwards in town planning if comparisons with the 1967 approach are to be made.

The Public Art Strategy for Milton Keynes 2006-2011, accessible on www.culturemk.org, is an extensive document. It sets out schemes for new art and related projects in 65 pages of text and charts. Yet within these pages, we can find little more than one small section devoted to the unique grouping of public sculpture erected over more than three decades since Milton Keynes was designed and designated a new town.

This neglected, nationally important collection forms the context into which MK’s future sculptures and sculpture projects will be placed. The new sculptures in turn, judging from the Public Art Strategy, seem likely to suffer the same fate as their forebears: neglect.

A recent condition report by nationally respected conservators bears this anxiety out – remarking, too, on the poor siting of some more recent works. The Strategy mentions a small pilot conservation scheme that is to take place before long, but – as with the Strategy overall – the scheme seems not to be supported by any practical plan for the immediate future. How will the pilot be evaluated? Whatever the outcome, how does the Milton Keynes collection feature in plans for future conservation schemes?

So much is spent on consultation documents, strategy documents, flow-charts, pie-charts, gant-charts and the like. So little is spent on the subjects of these weighty outpourings.

Valuable work has been carried out comparatively recently in perpetuating the town's internationally respected name as a location for contemporary sculpture. From its track record of acquiring and siting art, Milton Keynes should have expertise and experience to spare within its boundaries.

It has to be said that this experience and expertise seems not to be reflected in the pages of the Public Art Strategy.

The PMSA’s concern is to sustain what remains of the once-enviable position of Milton Keynes as a visionary, vibrant and practical patron of contemporary public art not only for the benefit of residents, but for the enjoyment of visitors, and instruction of sculpture scholars, from far and wide. This requires a long-term unified commitment to suitable care, sensitive siting and regular maintenance. Can MK come up with the goods?

	..	Save our Sculpture Your help is urgently needed
Linked pages  SoS Links  Case studies  SoS leaflet (pdf)  Response form  Response form   (printable)  Loyd Grossman's message Delete windows to return to this page SoS is generously sponsored by Hiscox Click images to view larger versions Manchester, Mother and Child - monument to Queen Victoria Leeds - Drury's Morn and Even sculptures Grace Darling's memorial, Bamburgh   King Lud and his sons   The Comet Public House sign, Barnet By-Pass, Hatfield, Herts by Eric Kennington (1936). © Conway Library Click image to view larger version See more information and images in the section on case studies     Monument to Quintin Hogg, London			This is "an urgent call for action" (Loyd Grossman). go to his message Save our Sculpture is an initiative of the Public Monuments and Sculpture Association, which campaigns for increased care and appreciation of public art - anything from Nelson's column to a commemorative drinking fountain. The PMSA has instituted the first national survey of public art: the National Recording Project currently carries records online for 70% of Britain, and has recorded many that are neglected or at risk of irreparable damage or loss. Using this unique resource, SoS identifies sculptures at risk, records them on the SoS At Risk Register, and alerts local authorities, private owners, campaign groups and the general public to the urgent need for action. SoS aims to help those who care about their local sculptures and monuments to do something about their maintenance and preservation - to press for change and make it happen. S0S - sculpture saved; sculpture at risk. The PMSA collaborates on sculpture conferences and preservation campaigns: it belongs to the conservation grants panel of Friends of War Memorials (English Heritage), participated in the awareness-raising Fourth Plinth project, and advises local authorities and others on sculptural issues - including identification, history, conservation and listing. Increased public awareness encourages care of the historic and creation of the new: witness the Diana Fountain nearing fruition by the Serpentine, the Albert Memorial spectacularly restored, and the reinstatement of Drury's 'Morn' and 'Even' sculptures in Leeds City Square (see picture, left). Despite this, neglect and mistreatment are rife.The SoS At Risk Register features, amongst others, Northumbrian heroine Grace Darling's canopied memorial (see picture, left); architectural sculptures at Royal Shakespeare Memorial Theatre, Stratford; and historic busts in London's Leicester Square. See more information about some sculptures at risk, and examples of successful restorations, in the section on case studies With the PMSA, you can help make a difference - SoS can show you how. Go to the page of case studies Get involved Public sculptures belong to us all. If you think your neighbourhood sculpture is at risk: Consult your local history library/record office. Find out: Who is responsible for its upkeep? Is it on public / private / corporate land? Is it Listed? (English Heritage Listing recommendation affects all planning decisions). Consult the database of the National Recording Project on this site (to find out, for example, about details of ownership). Print out and fill in the printable response form on this site and return it to the PMSA, or complete the online response form IMPORTANT - please send copies to the: 1. Organisation responsible for upkeep, if known. 2. Parish / Borough Council. 3. Local Authority Conservation Officer. 4. English Heritage Regional Office Alert local societies / businesses / residents' associations.  Make Contact with organisations which might help with your queries about a particular public sculpture or monument through the SOS LINKS page. Following up Your response form will alert the authorities to sculptures at risk. The PMSA SoS Campaign will follow up each case and press for appropriate action to be taken. Therefore, please report to PMSA SoS Campaign any: positive response proposed action unsatisfactory response lack of response after 4-6 weeks Please help the PMSA to help Save our Sculptures Report signs of neglect: Build-up of litter and dirt Removal of letters or details Graffiti Surface erosion, structural cracks Report to SoS any indications of: Cleaning or repair Removal, relocation Change of ownership Remember: Regular maintenance is essential Everyday care costs less than major restorations Prompt removal of graffiti, litter, dropplngs, discourages vandalism Local support is crucial for action. But... Owners and official bodies need your input Old monuments need not look new No treatment should be undertaken without expert advice Keep comments concise and factual If your sculptures or commemorative monuments are well cared-for, please help keep them that way Join the PMSA's campaigns - send for details today. top of page mail this page to a friend
Order SoS leaflets for distribution -either email the PMSA, or write to: SoS Campaign Public Monuments and Sculpture Association (PMSA) c/o Courtauld Institute of Art Somerset House The Strand London WC2R 0RN View the SOS LEAFLET in pdf format (delete window to return to this page) To view this, you need to have installed Acrobat Reader on your computer Click to download Acrobat Reader Make contact with organisations which can help with your queries about a particular public sculpture or monument - go to the SOS LINKS page. Fill in the online response form with the same details, and include the email addresses of the organisations / departments you wish to contact. Go to the ONLINE RESPONSE FORM Alternatively, we include a printable response form on a separate page, for you to either send by post or email to anyone who you think should be made aware of the state of a particular monument or sculpture. There are two ways of doing this:    either - print the form once or several times, fill in the details, photocopy, and send to the relevant authorities by post:    or - copy the contents of the page into an email (select all > copy > paste), type in the details, and send copies to the email addresses of these authorities. Go to the PRINTABLE RESPONSE FORM For contact details, see the SOS LINKS page. (delete window to return to this page) top of page