Culture: Art Space That Is Difficult to Replace; Terry Grimley Explains Why the International Profile of Birmingham's Artists Is Threatened by the Regeneration of Eastside

The Birmingham Post (England), May 6, 2003 | Go to article overview

Culture: Art Space That Is Difficult to Replace; Terry Grimley Explains Why the International Profile of Birmingham's Artists Is Threatened by the Regeneration of Eastside


Byline: Terry Grimley

Work by 23 artists from Birmingham and Milan has just gone on display in Digbeth, reinforcing the city's case to be European Capital of Culture 2008.

But can these international credentials be sustained? The exhibition, Repertorio, is the latest event to be staged in Birmingham's most informal and flexible arts space, Chuck Works. Unfortunately, it will almost be the last.

The nondescript exterior of the inter-war industrial building on New Canal Street conceals an interior space which is an ideal readymade gallery - spacious, high and comprehensively top-lit.

Its potential was first spotted last year by sculptor Angelo Bordinari, who has had his studio next door for the last 20 years.

'The landlord used to be my landlord,' he explained. 'Last year when I was looking for a space for a show we realised what a good space it is. He gave it to us for nothing and from them on it's been an entertainments space.'

The first exhibition, held last summer, was a group show by members of the artists' organisation Birmingham Artists (formerly Birmingham Art Trust), selected by Brendan Flynn of the Museum & Art Gallery and myself. Chuck Works has also hosted exhibitions of photography in association with the annual Rhubarb Rhubarb festival, and earlier this month it was the venue for Birmingham Opera Company's highly successful production of Leonard Bernstein's Candide. For that performance the walls and roof lights were painted blue, and large quantities of white paint have now been deployed in returning the building towards an approximation of a white box. Only an approximation though, because the walls are cluttered with pipes and ducts which should ideally be boarded over to create a purer white space - which, I believe, would be stunning.

Unfortunately that is not going to happen, because after the threeweek run of Repertorio and a final group show, Chuck Works is to be demolished. It stands on the site of the new Library of Birmingham and, even though building work on that is not scheduled to begin until 2005 (even assuming the existing funding gap can be bridged) the city wants to clear the site now. Angelo Bordinari's studio, home to eight artists, will also disappear.

Bordinari and his colleagues make a lot of public art for sites in the West Midlands. At the moment a large three-part carving for Topcliffe School in Castle Vale is awaiting collection.

'We have a lot of stone-carving, and it's going to be hard to find somewhere in the city centre, because of the dust and noise,' he said.

Bordinari, who is from Brescia, came to Birmingham as a student in 1982 and has stayed ever since. Even though he now has a teaching job in his home town he has kept his studio in Birmingham, going back to Italy for three months at a time. …

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Culture: Art Space That Is Difficult to Replace; Terry Grimley Explains Why the International Profile of Birmingham's Artists Is Threatened by the Regeneration of Eastside
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.