Professor Whitestick's Blog

Monday, 9 July 2012

Royal Academy Summer Exhibition 2012

*** update 24/7/2012

Prof Whitestick in reflective mood by

From Landscape to Portrait

Chris Wilkinson RA

Royal Academy courtyard

20 July 2012

On the evening of the 20 July I had another chance to visit the Summer Exhibition. On this occasion it was at 9 pm with subdued lighting in the galleries. It's amazing the difference lighting makes. There was much less definition of the colour, but greater definition of the lines and shapes of some of the art works, especially the sculpture. Many seemed quite different and a sighted friend thought some of my earlier descriptions were in another world, though it's always worth taking a second look at this exhibition. We went round with an artist and were soon discussing pigments used in painting and useful colour descriptive terms.

*** end of update

I used to go to the Summer Exhibition regularly in the 1990s. It was part of corporate culture then and I can remember serious champagne drinking, canapé eating and there still being a smokers’ area! These were private views and were part of a company season of entertaining and were always enjoyable events. However, I had not been since I lost my sight, so I contacted Kate Horbury at the Royal Academy Access and Learning department, who arranged for Sylvia one of the RA’s team of volunteers to meet me and take me round. (http://www.royalacademy.org.uk/exhibitions/summer-exhibition-2012/)

In the courtyard at Burlington House there is a huge installation by Chris Wilkinson RA of what appears to be large frames, arranged in a curve which gradually comes down to head level. (

http://www.royalacademy.org.uk/ra-magazine/summer-2012/summer-exhibition-architects,376,RAMA.html ) On one side of the installation there is a mirror effect due to reflective metal and peering in and out causes a strange image which moves. On the matt side of the reflecting side there are people sitting. Having a camera with me, I asked someone to take a few photos:

Prof Whitestick inspecting installation at RA

5 July 2012

Prof Whitestick in the frame

RA, London

5 July 2012

Sylvia met me at the information desk and we started our tour. Sylvia double checked that I did not need Braille Guides to take away (I would have taken them if anyone had wanted them but they are available on request. Kate had also given me details of accessing pdf files “which could be downloaded on your iPad” http://www.royalacademy.org.uk/learning/access-and-communities/large-print-gallery-guides-and-labels,1420,AR.html. )

Sylvia discussed our plan and found what I could make out. She had been to the Hockney exhibition 23 times and on comparing notes, were in agreement regarding how much we had enjoyed this exhibition. I thought it might be an idea for Sylvia to tick a mini guide of items which I liked and I could show these to friends so that they could keep an eye out for them and discuss what we found. Sylvia also wrote down some comments after we had discussed the individual pieces.

RA Summer exhibition

#55

Portrait of a man standing
Leonard McComb RA

reflections of colour and movement

#46

2^nd lake, Sheffield Park Garden, Sussex Weald, late summer
The late Adrian Berg

dripping lines, reflections

#39

Series ‘Ghirlanda Continua’ after Latvia No. 4 Letter E
Jennifer Durrant RA

3 yellow lines, brown/pink; silver, pink, lilac circles

I enjoyed this work and as one moved around we both wondered about the textile finish which appeared on the paint surface.

#277
Dressing for work (from ‘a day in the life of a jihadi gangster’ series)
Digital print on dibond
Aman Mojadidi

oxymoron

Sylvia directed me to this piece at the end of a gallery. It portrays a jihadi dressed in headgear but in short sleeves with tattoos on arms. The man is wearing a gold necklace and a gold revolver round his neck. There is a gun lodged in line with his groin. I could make out the lower half of this piece but relied on Sylvia to describe the top part. I told Sylvia about the forbidding of men wearing gold in the Quran and also about tattooing the body. Hence my asking for ‘oxymoron’ to be attached to this challenging work which we both admired while not really liking it.

#824
Samson
Oil, acrylic, steel, pastel and charcoal
Anselm Kiefer Hon RA

admire artistry, but rifle rather spoils it

This work was awarded a prize and portrays Hebron at the top with Gaza at the bottom. It is well crafted but spoiled by having a (real) rifle, emblazoned with Samson, across the horizontal line. If it was making a statement it probably failed.

#835
Peg Painting
Watercolour and wooden pegs
Annie Morris

fun - next to chicken bone

chair, horizontal and vertical lines

I really loved this almost tapestry effect peg paint flat piece. The lines appealed to me and it was imaginatively placed next to the chair. Both works enhanced the other and I would gladly have both at home. The texture of the peg paint resembled a beaded piece of cloth.

#840
Chicken Chair
Animal bones
Olu Shobowale

#847
Cut Ground Grey red
Oil on aluminium
Sean Scully

eye catching – plum/red differentiation

Sylvia and I disagreed about this one. Sylvia felt the colour rules had been flouted. I proved to Sylvia that my colour perception was poor with plum/red differentiation, but I could detect a vertical line. Sylvia peered closer and noted a very thin yellow line (o.5cm?). As a result, we probably got too close to this work and attracted the attention of a guard who reminded us not to get so close! (In the gift shop there is a post card of this which Sylvia found for me, but I’m not sure I convinced Sylvia about the work)

#926
Series ‘Ghirlanda Continua’: Luce
Jennifer Durrant RA

very pleasing

another piece by this artist that we both liked it.

#1001

‘No. 283’
Paint on mild steel.
Rana Begum

pleasing colours – red, yellow, black, white, transparent

This piece is large and hangs on the wall almost alone. The metal fins obscure the colours as one moves past it. I liked this a lot.

#1207
Portrait of Justin Mcleod (The man without a face)
Eugene Nyee Macki

chocolate

This was a talking point. Kate had told me that there was a chocolate head in the exhibition, so when Sylvia suggested I might like to sniff this sculpture I guessed it had a chocolate aroma. We laughed.

#1196
Tocco – Praik
Ana Genoves

reminds me of David Nash

This is a large piece, about the size of an old red telephone kiosk, which had been hacked away. It made me think of David Nash RA and his wooden sculptures in Kew Gardens. At this point we engaged with a couple who were not impressed by this piece and went regularly to Kew Gardens.

#1331
Southern Shade 1
Nigel Hall RA

circles, want it

#1227
Mossom
Alexandra Harley

colours

General Comments:

Sylvia had guided me up the stairs and we entered the central area and spent some time on the first two items. She has guided other visually impaired and blind people and soon worked out what I could make out and what needed to be described with a view to completing the “picture”.

The mini guide and price guide is pocket sized and Sylvia marked some exhibits which we more or less nodded through. There are some obvious talking points and the start can be a bottleneck though we experienced few crowds. The hanging is mainly double hanging in a wavy line which makes part of the exhibition appear less cluttered with so many genres.

In the central showing area (The Octagon) there is a bronze statue gleaming with a kinetic effect on the red Matisse painting themed works. As you move round it, it seems to pulsate with veins, arteries, muscles and tissue. This is caused by the movement of others.

We then moved to the Sheffield Park Landscape where a Hockney piece had been hanging. We compared and contrasted. This is a big painting in 4 panels. The trees are partially reflected in the lower part though some tricks come into mind. I had created a Hockney Woldgate effect and we wondered how the artist had done it.

Conclusion

This was a thoroughly enjoyable social occasion. Sylvia made the 2 hours pass so quickly and though we had some differing likes and dislikes, I really enjoyed the chance to engage with her on so many topics. Many thanks to Kate, Sylvia and the Royal Academy for making this exhibition accessible to me.

Note:

Royal Academy related posts:

My posts on the David Hockney exhibition at the Royal Academy can be found on:

http://profwhitestick.blogspot.com/2012/02/david-hockney-bigger-picture.html

http://profwhitestick.blogspot.co.uk/2012/02/royal-academy-in-touch-david-hockney.html

My post on the Zoffany exhibition at the RA can be found on: http://profwhitestick.blogspot.co.uk/2012/03/royal-academy-johan-zoffany-ra.html

Prof Whitestick starting tour of Summer Exhibition

RA, London

5 July 2012

Sunday, 8 July 2012

Bauhaus: Art as Life, Barbican Art Gallery, London

This was my first trip to a show in the Barbican on my own since I lost my sight. I called the Box Office and they explained what they could offer the visually impaired community. One of the options was a curator guided visit and this could be arranged with some notice depending on interests and requirements.

With an exchange of emails with Rebecca Oliver, I got a phone call from Corinna Gardner and discussed what I could see and where my interests lay. I mentioned items I had enjoyed and written about in the blog such as the Zoffany theatre paintings and the sharp lines in Gerhard Richter and also that I had been through parts of Germany in the past and was not unfamiliar with the Bauhaus movement. I casually mentioned to some friends that I was going and they wondered how I was going to get there. I decided to do a reconnaissance trip the day before. (http://profwhitestick.blogspot.co.uk/2012/07/barbican-underground-station-for.html )

On 4^th July I arrived at the Barbican Gallery for my tour and Leila Hasham, assistant curator was there to take me round the gallery. With some 400 items of art, film, photo, design, textile, print, books etc there is a lot to do. I indicated that I would appreciate Leila’s choice (curators always have interesting tales as they have to do a lot of the research, negotiations and liaisons with authorities) and this is apparent in the end result.

I first went to Weimar in 1979 and visited the city again in the 1980s. I had been to both Goethe and Schiller houses as well as some of the museums and galleries. I still have a hardback guidebook for Weimar from the former East Germany (DDR), although I had only been driven through Dessau. I had, however, been to Berlin often and had studied in Munich.

My peripheral vision allows me to see shapes and Bauhaus is ideal. So, if you can make out triangles, cubes, circles and geometry, then Bauhaus may be a genuine pleasure. I commented on how the Picasso show, Henry Moore’s sculpture and the paintings of Bacon and Sutherland were lost on me. My colour perception is variable and though I could make out the blue and even reds, I failed to pick up on some yellow on a parchment background. The lighting was appropriate and the lines in a Sitten sculpture were very clear in my mind, even though it was white on white. It had a Robert Adam effect that I noted in Osterley House.

White on white sculpture

Bauhaus: Art as Life (3 May – 12 August, 2012), Barbican Art Gallery, London

Many of the drawings were accessible and though some objects were cordoned, most could be approached close up. I was also struck by a setting where the Bauhaus furniture was arranged with a backdrop of the Gropius study office view through perpendicular windows. I commented to Leila that in Edinburgh there was an installation of Rennie McIntosh furniture against a backdrop of Mrs Cranston’s Tea Shop in Glasgow. Bauhaus, however, is more angular than McIntosh and has no gimmicky chairs.

There are some benches to sit on so after my tour I went round again using some landmarks which Leila had described in our 90 minute tour.

On my return home, Leila had already sent me text files of the captions and some photos of the installations for the show. Leila also kindly wrote down the caption note and artist on some items which I liked. In going round a second time, I viewed a black & white film with gamelan music chosen by Nagy’s daughter. There is a little background music in the show but it does not grate. Surprisingly my mobile phone went off twice on my second round (reception not great)!

The gift shop has much to offer in textiles and books including a Bauhaus styled catalogue. I bought some Brio magnetic wooden blocks to try out as I am quite messy with acrylic paint these days. The post card choice is mainly restricted to photographs, which was part of the Bauhaus training. I did however buy 3 post cards:

Paul Klee: watercolour from the Gropius portfolio

Oskar Schlemmer: Figurationen, 1923
Laszlo Moholy-nagy: z 1’ 1922/23

Overall, a wonderful tour and a relaxed 2^nd round on my own with a chance to fix some of the works in my mind. I have listed below the items which I particularly liked. Leila Hasham noted down the names and titles for me and a friend has read and typed the notes.

Room 1

Lyonel Feininger, Studio Window, 1919
Lyonel Feininger, Gelmeroda II, 1920

The Feininger woodcuts were used in the Bauhaus prospectus or manifesto. The movement also moved away from traditional Gothic German Fonts in order to develop clearer fonts. (Richard J Evans’ books on German history are available on RNIB Talking Books and are a useful chronological accompaniment to the Bauhaus emerging in 1919 to its end in 1933)

Room 2

Hedwig Jungnick, Gobelin with abstract forms 1921-23

Tapestries can be difficult for me but the textile and weaving patterns are all clear. I discussed weaving with Leila on what I had made out in the Dovecote Gallery in Edinburgh.

Tapestries with clear lines

Bauhaus: Art as Life (3 May – 12 August, 2012), Barbican Art Gallery, London

Adolf Sommerfeld, Swivelling Bookcase, 1922 from ‘Sommerfeld House’

The house was destroyed but a relative in the family has loaned this attractive bookcase.

Wassily Kandinsky, Questionnaire, 1922-23

Kandinsky’s shapes reminded me of an eye test I had taken the week before in Judd Street. Geometric shapes are used in these.

Kandinsky circle - 'landmark' in exhbition

Bauhaus: Art as Life (3 May – 12 August, 2012), Barbican Art Gallery, London

The captions which are in large print for visitors is as follows:

A Kandinsky Painting is in this view.

Circles in a Circle, 1923
Oil on canvas
Philadelphia Museum of Art. The Louise and Walter Arensberg Collection 1951

When Kandinsky arrived at the Bauhaus in summer 1922 he was moving away from the amorphous forms and mottled colours of his Expressionist canvases and towards incorporating harder-edged geometric shapes, influenced by his contact with Russian Constructivists in Moscow during the War. In its use of intersecting lines and overlapping geometric shapes, Circles in a Circle has affinities with work of Moholy-Nagy. Kandinsky, however, employed a wider range of colour to create a sense of movement and depth and believed that the circle had a ‘link with the cosmic’.

-end of caption

Paul Klee, Tomb in three parts, 1923

Klee has beautiful colours and his work is well known. He was also influential in the puppet and theatre design with Oskar Schlemmer.

(For those with screen readers, note how JAWS has switched the pronunciation of Kandinsky and Klee.)

Wassily Kandinsky, Circles in a circle, 1923

This is a cordoned picture and can be observed in one of the illustrations.

Alma Buscher, Building Blocks, 1923-24
Gunta Stölzl, Wall hanging in black and white, 1923-24

Oskar Schlemmer, Triadic Ballet, 1923
3 figurines: These can be viewed as reconstructions from the sketches.

Gunta Stölzl, Five chairs
Anni Albers, Wall hanging 1926
Gertrud Arndt, Wall hanging, 1927

Wassily Kandinsky, Development in brown, 1933

This item is rather sombre and there is a hint of rebirth of the movement as members of the school relocated to the USA and Hampstead in London. There is an organised walk from Belsize Park to Frognal illustrating the buildings associated with Bauhaus émigrés following the 1933 Nazis in Power.

The 2 items which I found myself on my 2^nd trip and asked other visitors to note were as follows:

Charlotte Voepel, Poster Design for Nivea, 1928
Nivea Crème zur Hautpflege

The tin of Nivea caught my eye as it was an iconic image. The brand name and rights had been dispersed following the First World War (Henkel lost Persil in USA and UK markets)

Xanti Schawinsky, Circus stage and clown

I was attracted to this beautiful sketch and though the name was difficult to pronounce, I rembered Xanti, listed as a student of the Bauhaus.

My perception:

There was a rotating spiral with a shadow in a triad of puppets which I liked a lot.

Triadic Ballet

Bauhaus: Art as Life (3 May – 12 August, 2012), Barbican Art Gallery, London

The following is taken from the captions sent to me by Leila with this photograph of the reconstruction:

Oskar Schlemmer
The Triadic Ballet Turc I (Pink Series), 1922 (remade 1995)
Silk, velvet and felt on wire figure
Bühnen Archiv Oskar Schlemmer, The Oskar Schlemmer Estate and Archive

For Schlemmer the costumes were the most important part of The Triadic Ballet. He designed the 18 with the full intention that they constrict the wearer’s range of movement and thereby generate new dance expressions. The ‘figurines’, as he termed them, were formed from geometrical shapes made from stuffed and padded textiles as well as papier mâché, wood, glass and metal.

- end of caption

There is a film clip showing a spiral object which has a kinetic effect. In fact the film reminded me of some images I see first thing on waking which suggests Charles Bonnet Syndrome, something that often affects people with significant sight loss.

There are many fine examples of metal craft of everyday objects such as ashtrays, kettles, teapots, cups and saucers. There are also showcases of glass and ceramic objects. The town of Jena is famous for glass and optical glass products and brands such as Schott Jenaer Glas and Karl Zeiss Jena were well known.

The Bauhaus movement inspired so much design changes and it is hard to realise that many of these early objects were in fact handmade objects. While some in the movement wanted to link design to industrial production there was always some friction within the Masters and some of there students.

A note in the Barbican What’s On include a gold metalwork exhibition as follows:

The Goldsmiths Company

1^st June – 28^th July
Goldsmiths’ Hall, Foster Lane, EC2V 6BN
www.thegoldsmiths.co.uk

Conclusion:

This is an exciting exhibition. I have not read any reviews though I heard some favourable comments on the radio. The live guiding system in operation obviously works and my access to one of the curatorial team was much appreciated. Leila had guided me in a way where I was able to remember most of the “landmarks” in the show. The clear lines of the Bauhaus are pleasing even to those with visual impairments and I would recommend this show to anyone interested in this important short period of invention in what were difficult times.

Many thanks to Leila and the Barbican Gallery for making this exhibition so accessible!

I have described the way to the Barbican from the Barbican Station on the London Underground in my earlier post: http://profwhitestick.blogspot.co.uk/2012/07/barbican-underground-station-for.html

For access details contact :

Rebecca Oliver
Licensing & Access Manager
Barbican Centre
www.barbican.org.uk

Saturday, 7 July 2012

Barbican Underground Station for Barbican Centre and Museum of London

Getting to the Barbican Centre has been described as a bit tricky, but I have now done this twice on my own. Barbican Underground is served by more than one line and on arrival there are several flights of stairs to the ticket hall and gates. On my first trip, on July 3^rd, I was approached by Rohan from the station who kindly took me across two crossings and described an onward journey which worked first time.

Rohan first notified the controller that he was taking me out of the station. We then crossed a “tactile” crossing, rippled texture and light controlled with rotating signal below the button. We crossed this directly outside the station and turned right and crossed again. From then on I followed Rohan’s instructions and turned left and proceeded into what seemed a tunnel/underpass with side access for car parks, dumpsters and deliveries. There is a panelled metal cladding in different colour and ventilation vents which can be whacked with a cane, for auditory feedback. The end of the tunnel is marked by lighting changes and accompanied by the sound of being in the open air again. At the next crossing, turn right. At this point you should be on the approach to the Barbican Centre in Silk Street- this is straight ahead and about 80 metres, I think. This point has an interesting feature on the corner of Beech Street/Silk Street. It seemed to me to resemble a Pictish broch such as one finds in Scotland (Dun Carloway in Lewis) For my purposes, it is a broch!

This orientation to the Barbican seems to be safe and though going through a tunnel it has an advantage of having virtually clutter free pavement (sidewalk) http://www.tfl.gov.uk/gettingaround/stations/1000014.aspx

Once in the Barbican Centre (entrance Silk Street access point), there are several glass doors and corridors and when I went in there was a car in the way. Lucy approached me and asked if I needed help. I asked what the car was doing there and was told it was 007 James Bond’s Aston Martin! (The next day Fiona took my picture posing with Sir Sean ‘himself’.)

Prof Whitestick meets James Bond with Aston Martin

Barbican Centre, London

4 July 2012

©ProfWhitestick

Lucy also described the doors, some of which open outwards automatically. I wanted to go to the Barbican Gallery and was given instructions to go to the elevators beside the exit to the waterfront. I found this and asked other passengers for floor 3. I found the gallery and talked with Priya. Lucy’s directions and the function of the building had delivered me, again first time. I asked Priya to thank both Lucy and the station staff at the Barbican for both approaching me and asking if I needed any assistance.

Priya told me about the live guiding system they have and was pleased that I had booked a curator guide for the next day. However, they can also cope with a visually impaired person turning up, out of the blue. Priya told me more about the Bond show which was about to open (http://www.barbican.org.uk/bond/) as well as showing me two of the cafes and the orientation of the levels. She also suggested that I ought to try out the Museum of London and gave me details of following a yellow bricked road walk which goes part of the way.

Prof Whitestick with James Bond

Barbican Centre, London

4th July 2012

©ProfWhitestick

I explored the fountains and waterfront in the Barbican Centre but take care and pay attention to the cane’s feedback. Next, I followed the yellow line after a flight of steps and though it ran out, it brought me, with some help from others, to the Museum of London. http://www.museumoflondon.org.uk/

I had not been here before and they were very geared up for new faces and whitesticks. All the staff wear pink/cerise/fuchsia coloured shirts/blouses and operate a relay system where you are passed from guide to guide. They are all linked to radio control with mike and earpiece and when I was put into a lift it was explained that someone else would be there (and they were) on the next floor.

I met Lorraine who said they ran tours at 3pm and 4pm explaining the layout of the museum from prehistory to the present. I wanted to jump start with the 1300s and talked with different guides about medieval London and the Black Death, Tudor times and the Great Fire of London. In a showcase was a sword given to Lord Nelson and I was chatting to Edwin who was describing it when I went into renaissance sword/neutron diffraction mode. It turned out that Edwin had completed a MA at UCL and was hoping to do a PhD in archaeo-metallurgy. He knew all the Wallace Collection staff I had met at the study day (http://profwhitestick.blogspot.co.uk/2012/06/noble-art-of-sword-study-day-wallace.html ).

I was then taken by Nicola around the 20^th Century section, finishing with the original elevators of the Selfridges shop in Oxford Street, which had been relocated and installed in the museum. We also took a look around the Lord Mayor’s coach and horses.

A lot to see and do. When finished, I was taken across a road and given instructions on how to find Barbican Underground. Approaching the station and remembering there was only one entrance, I was offered help from Michael who was going in my direction and we got on the right train, i.e. Metropolitan line train.

Monday, 2 July 2012

Detroit by Lisa D’Amour at Cottesloe, National Theatre London

Audio Described and Touch Tour 30^th June 2012

Detroit is the 2^nd performance I have “seen” at the National Theatre in London with audio description. (http://www.nationaltheatre.org.uk/detroit) I had been to The Cherry Orchard by Chekhov last year, going on my own and taking in a touch tour beforehand. I had got out of the habit of booking far ahead on account of my hip problems. However, a friend nudged me into going again as I had expressed an interest in seeing the National’s current production of Antigone. I duly called the National’s box office and during my conversation with the helpful staff not only booked to ‘see’ Antigone, but managed to book for Detroit in addition to having my records at the NT updated! It is worthwhile checking that your access needs are noted. (http://www.nationaltheatre.org.uk/access)

I thought no more about it until an audio CD arrived in the post - a pleasant surprise, as it contained detailed information about my performance dates, touch tour, programme notes and set details with a cast and credit list. The CD had other useful information and on playing the Detroit references, I had an idea of the set, costumes and found I could identify two of the actors by name and voice from their radio work. (This can stop me from whispering ‘I’m sure he/she plays ABC in…’ ) The CD was recorded by one of the describers Tony McBride. I made a mental note of two particularly striking details mentioned on the CD: one was a reference to a rusting aluminium door and the other to a tortoiseshell clasp in the hair of one of the actors.

Outside National Theatre

London

30 June 2012

On arrival at the Cottesloe, we were welcomed by Andrew Holland, who was one of the describers along with Tony, and by Duncan.

Later, we were assembled and Reuben led us into the theatre and onto the set, where we grouped beside the aluminium framed mesh door. Andrew introduced us to most of the cast. These were:

Stuart McQuarrie (Ben)

Will Adamsdale (Kenny)
Christian Rodska (Frank)
Justine Mitchell (Mary)

The fifth character was Sharon, played by Clare Dunne.

The cast spoke in character and were in costume but also spoke in their own voices. I was shown the mesh door and opened it. Behind was some cheap and old linoleum flooring signifying decay in the house (and the suburbs?). An artificial flowering plant grew out of a gap and Stuart guided me to it. I asked Christian if he was wearing clean deck shoes as announced in the audio notes. He wasn’t, but his part (Frank) does not come on until the end of the play.

I was then taken over to the other half of the yard set and spoke to Will (Kenny) and Stuart (Ben) over the BarBQ. This had been shipped over from Chicago and is gas fired. Though it was out of my sight line (I could not have seen it), it is the focus for several key points in the dialogue. A repeated line from Ben is “Put these puppies (steaks) on the grill”. A pair of tongs too is used as an important playful prop in the play.

I chatted with Andrew about audio description and we were joined by Stuart. I mentioned my blog and the guest post by Neville Watchurst. Andrew said he had done work on television too. I asked how strict the direction was as with only two audio descriptions in the run it must be meticulous in the timing. A describer has to both know the play and the likely outcomes of a move into an improvisation or extemporisation. As no two performances are alike so no two descriptions in real time are the same.

Next, I spoke to Justine (Mary) over the deck table with shade and tablecloth. The colours of the shade and its unreliability open the play as do the sliding doors of the patio (deck).

I found the access we had to the set, combined with the interaction with the cast and a describer very useful in adding to the audio CD input in my mind. The detail in the design and layout of the Cottesloe Theatre is very useful, as are the seats for visually impaired people. Some large print and Braille notes were available and these were distributed to those who asked for them. (Someone I had met at a National Gallery talk had asked for some details too.)

The tour finished, we had a little over an hour for a coffee and sandwich in a café in the NT complex by the river.

On returning to the Cottesloe Theatre I came across the bust of Cottesloe on the left hand side of the door. Following my previous experiences with Elgar, Keats, Wellcome and Van Gogh’s doctor, I tried the bust.

Lord Cottesloe at entrance of Cottesloe Theatre

National Theatre, London

30 June 2012

For the performance, I was given the Infra Red audio headsets and told how to use them. Reuben guided me to my seat which was on the apex of an isosceles triangle with about 75 degrees of audio about 3 rows up from the floor. This is an ideal spot as the headsets give an obvious 180 degree audio signal. Shortly before the performance was due to start, Reuben came round checking that we could all listen to the audio prologue. This gives useful information about action, lighting, noises and a tip to turn up the volume and turn the headset volume down again.

The play opens against a backdrop of aircraft approaching and this reminded me of Detroit’s DTW airport, beloved of those in certain industries. The play features two couples in a very rundown neighbourhood facing challenges. The area is described as a first ring suburb with additions, neglect and some properties being “home improved”.

I remember Derek Jarman’s film Jubilee shown during the Queen’s Silver Jubilee. This illustrated a dystopic view of London and a somewhat feral nature of the society. The picture of suburban life in ‘Detroit’ gives an idea of nature taking over developments and a breakdown in some parts of society. Sharon and Kenny are unashamed “White Trash” though more so than that portrayed by the sitcom Roseanne.

Having driven through parts of the US Rustbelt in the 1980s and 1990s I was prepared for some of the references and dialogue. Mary’s pretensions with her Hvarti cheese and caviar are neatly juxtaposed with Sharon’s nibbles such as saltines and delta caviar. During the play there are also references to Solar Power Drive or Ultra Violet Road (which fitted neatly with my Infra Red headset) in addition to the US Freeway numbering system. However - and without giving anything away - there is quite a long dance sequence which would have been lost on us without the graphic descriptions of the audio describers. The play translates very well from its Chicago first showing and it speaks for itself as a performance with the input from Andrew and Tony.

So, well done National Theatre! This was a very imaginative way of giving some of us an idea of what is going on. The combination of audio CD, touch tour and audio description was ideal.

Production Notes

These notes have been taken from the material made available to us and also from the flyers. These were read to me by my companion though if on your own questions can be asked.

“The world premiere of Detroit was produced and presented from 9 September to 7 November 2010 by Chicago’s Steppenwolf Theatre Company, Artistic Director Martha Lavey, Executive Director David Hawkanson.”

Sunday, 1 July 2012

Beginner’s Blindness: Higher Education - The Open University

Two years after I lost my sight, friends and relatives were concerned about what I was going to do. The only sport I enjoyed was skiing and with a lot of time on my hands they implied that I ought to do something. The Open University was suggested and with some basic facts found for me, I gave them a call. An advisor was curious when I said I did not want to study a science. After I explained that I already had a PhD from a Scottish university (1583 founded) we discussed various options. So it was that I embarked on 5 years of study at the OU in Arts and Humanities. I wanted to find out if I could learn anything.

As an alumnus of the OU, newsletters appear in my In Box and one such arrived encouraging me to spread the word about the OU. I questioned the OU about their facilities for visually impaired people saying that I had found quite a few obstacles when I studied there. After a few exchanges I agreed to write a post encouraging people with visual impairments to consider the option of study at the OU. My exchanges have been with the alumnus relations team and the links given below are given in good faith.

Information for Blind or partially sighted students:http://www.open.ac.uk/disability/blind-or-partially-sighted.php

Details of financial support and disabled students allowances:http://www.open.ac.uk/disability/financial-support.php

Details about OpenLearn - how we can make some of our resources available on the web for free:http://www.open.edu/openlearn/about-openlearn/frequently-asked-questions/cost

OU on the BBC: Secrets Of Our Living Planet:http://www.open.edu/openlearn/whats-on/tv/ou-on-the-bbc-secrets-our-living-planet

So, if you (or a relative or friend) find you’re having to live with a life changing disability, the OU could be a worthy challenge if you want to consider higher education. There are many ways of accessing the OU: through their programmes with television, Open Learn, individual courses or a formal degree programme.

Distance learning has its pluses and minuses. Many people still have impressions of the OU from old TV programmes, summer schools and catering for the “Lighthouse keeper in the Western Isles”. However, much has changed and even during the years that I studied with the OU, many changes occurred in legislation, technology, funding and accessibility issues. The transition from audio cassettes to other formats was clunky and not well handled when viewed across different level courses. Thus, earlier courses still had material on VHS video tape when DVD had long been around and courses at higher levels had extremely limited access. Things appear to have changed, but I would advise prospective students to make enquiries to satisfy themselves. Technology may have made material much more accessible though awareness of blindness should be apparent in practice and not just a politically correct mantra.

On a personal level, doing the courses provided a focus, and the coursework and assignments a discipline and structure to my time. It was also an opportunity to study something different. I was fortunate to have had some very supportive tutors with one even taking the time to read onto cassette tape some of the required readings. He had effectively saved me from buying 7 cassette players and connecting them in series. (No, I’m not joking!)

However, study with the OU is challenging and it is not a soft option. Depending on the course you choose, the amount of material “to read” can be substantial. Also, completing the written assignments and preparing for the end of year exam can be daunting, though not insurmountable. As for costs: when I studied, the fees were moderate at a few hundred pounds and a Disabled Student Allowance was available to cover costs of computer with assistive technology, note taking and essay typing and administration and reading.

I am able to comment on some aspects of the Open University. Distance Learning may not help in isolation problems though social media is now ideal for discussions on items if you cannot attend tutorials in person. I found contact with the tutor and other students a significant part of the education programme.

Trainspotting: Highbury and Islington Station and environs

Highbury and Islington Station is a local hub with London Overground, London Underground and a National Rail link from Moorgate to Finsbury Park and beyond. I have used this station for connections to the East London section, which was restored relatively recently, though Canonbury is more convenient for Eastbound traffic. For westbound traffic, the chances of a platform change are lower here.

London Overground trains at Highbury & Islington station

20 June 2012

Coming from the West on the Overground, there are 3 sets of 9 steps which will take you to the ticket hall level. Turning right there are lifts and stairs. For the return to Richmond or a Whitechapel and South London link, there are only 3 sets of 8 steps and a ramp. At this point there are connections “indicated” to the subway level lines of the Victoria Line and the National Rail link. This station could be another useful hub to meet friends and offers a safe environment for independent travel. http://www.tfl.gov.uk/

Below signage for connections at Highbury & Islington station

20 June 2012

I was photographed below some signs and station staff are usually around or fellow passengers if you get lost. I got lost first time round, but on subsequent trips have become more familiar with connections here. I have not yet tried the lower ground connections since I lost my sight. The ticket hall is still in reconstruction, though with a sharp right and left through the ticket gates, you can reach the exit for Highbury Corner.

I went with Stephen, who uses an architect’s and designer’s eye to observe and note objects of interest. Stephen spotted part of an original piece of railway architecture hidden in development in an otherwise example of British brutalism including the Post Office buildings at their worst. This block more or less hides Highbury Corner from view but Stephen spotted an unused Highbury Station entrance as well.

Outside Highbury & Islington station

20 June 2012

Old Highbury station entrance, near Highbury & Islington station

20 June 2012

Highbury Corner is a well known London transport feature and as a one way system it can be crossed by a series of crossings. We headed for Canonbury Road and crossed several streets to get there. There is a bus stand on the left hand side with the stop further down. It is one stop to Canonbury Square with a side entrance to the Estorick Collection on the left hand side. You can read about my visit to the Estorick Collection here: http://profwhitestick.blogspot.co.uk/2012/06/estorick-collection-of-modern-italian.html

Outside the Estorick Gallery. Highbury, London

20 June 2012

The sculpted metal gates are fascinating to touch. Turning right on to Canonbury Lane one reaches Upper Street with major Islington landmarks. The Town Hall and Union Chapel can be made out, and although the latter is set aside the tower is a major landmark.

Union Chapel rising out of Prof Whitestick's hat

20 June 2012

Union Chapel is a church which was started in late 18^th Century but has been remodelled through the 19^th Century. It holds about 2000 people and offers an uninterrupted view of the pulpit. It is a popular venue for concerts and gigs. http://www.unionchapel.org.uk/

I enjoyed walking up and down Upper Street, with its many restaurants, cafes and shops. It seemed less hectic at this point than some North London main roads, probably on account of trees and no noticeable large retail outlets. Walking up Upper Street we got back to Highbury Corner and into the station for the return to the North West postcode area.

NB Any comments on interchanges are welcome.

Gwen John Self Portrait 1900: National Portrait Gallery London

28^th June 2012

The last Thursday of the month is the NPG London visualising portraits event. I had missed them since January on account of hospital appointments for my hip operation and subsequent surgery. (During that time, Esther from the NPG had been in touch and had arranged for me to get the photos of Elizabeth Stuart – see post http://profwhitestick.blogspot.co.uk/2012/01/elizabeth-stuart-winter-queen-of.html )

I entered the gallery through the main entrance and as with all public buildings there is an increased security presence with the run up to the London 2012 Olympic Games. The staff told me to go to the information desk area where the group normally gathers. (In the past I have been escorted to the room as I had arrived with time to have a “look round”.) There were about 5/6 of us there and I had met 2 of them before. Esther was there and Ben an intern, was assisting. We gathered and took the stairs to the Late Victorian Room where Gwen John’s self portrait is hanging next to her brother Augustus John by Sir William Orpen.

Our reproduction copies are slightly smaller than the painting itself. Marion Cole was our describer and we discussed the John family, Gwen John’s training at Slade and her tutor.

Gwen John was a successful artist who moved to Paris and modelled for Auguste Rodin, with one famous sculpture of her as a muse in plaster in the Rodin museum in Paris and a bronze casting in the USA. She became a lover and stalker of Rodin until he died and moved between Paris and Hampshire. She died in 1939.

Description:

Gwen John is portrayed with her head slightly turned at the top, with her hands clasped near her hips at the bottom of the painting. With an oval face, hair tied back and centre parted her face was described by Marion. Colours in the reproduction and in the original are unclear for me. The background is green on a brown first coat, while the blouse is russet. The shoulders are shown in full width and about half way on the height of the 2 foot painting.

We took advantage of Marion who described the adjacent painting of Augustus John. This one is pure geometrical rectangles from right to left with John sitting or sprawled. Both paintings were darkly lit. Marion had brought along a biography of Gwen John with some illustrations of her other works. She was famous in portraits and had even “done” a mother superior of a convent from a prayer card. The sitter had been dead for 200 years!

We enjoyed our discussions which lasted 90 minutes and it is interesting to hear descriptions of faces. This neatly complemented an interview with Jenny Saville which I heard on BBCRadio3 Nightwaves. Saville was being interviewed by Matthew Sweet and in discussions about life sittings, the talk switched to the philosophical one of returning the gaze of a blind person. Saville had painted Rosetta and discussed blindness frankly. This programme is of a high quality and I would recommend it for this interview alone. The programme was titled Jenny Saville and broadcast on June 25. It is available as a podcast on: http://www.bbc.co.uk/podcasts/series/r3arts .

Other interviews in this Radio3 slot have included one with Uta Frith with her neuroscience background and an interesting side move to visual cues and non verbal communication. This programme was broadcast on 19 June and title The Turing Test. http://www.bbc.co.uk/podcasts/series/r3arts

Gwen John: http://www.npg.org.uk/collections/search/portrait/mw03484/Gwen-John?LinkID=mp02438&search=sas&sText=gwen+john&role=sit&rNo=0

Augustus John: http://www.npg.org.uk/collections/search/person/mp02437/augustus-john?search=sas&sText=augustus+john

Many thanks to Esther and Ben for taking us round. Each visit has allowed me to visit another century of portraiture as well as familiarise myself with the building and its stairs, lifts and I think I even heard an escalator!