IT ALL WENT AWAY

Milan, 15 March 2019

In the late 1980s, globalization really took hold and industry massively began to move out of developed countries and into developing countries. The UK suffered especially heavy losses of its manufacturing capacity. Whole communities not only lost their jobs but their whole raison-d’être. Their ancestors had been forced off the land to work in the factories, the towns they lived in had been created to house the factories, now there was no reason anymore for these towns to exist.  People my age remember that time, especially the miners’ strikes, which was their last-ditch attempt to save an industry that was doomed by global market forces. Artists memorialized those terrible moments in the UK’s recent history.

Miners’ Strike 2 (1970s) by an unknown artist, © the copyright holder. Photo credit: Thames Valley Police Museum
Miners’ Strike (1970s) by an unknown artist, © the copyright holder. Photo credit: Thames Valley Police Museum
Picket Line (2009) by Paul Schofield (b. 1938), © the artist. Photo credit: Haig Colliery Mining Museum
Miners’ Strike (c. 1985) by Margaret Varis, © the copyright holder. Photo credit: National Coal Mining Museum for England
On Strike (1985) by David Lawrence Carpanini (b. 1946), © the artist. Photo credit: Merthyr Tydfil Leisure Trust

But it was all to no avail. One after another, industries closed or moved away, leaving joblessness and broken communities behind

No Vacancies at This Colliery of Any Category (1984) by Andrew Hay (b. 1944), © the artist. Photo credit: Glasgow Museums

and leaving old workers with their memories of better times.

‘There are no longer any birds in last years’ nests. Times change and we with them’ (1993) by Andrew Tift (b. 1968), © Andrew Tift. Photo credit: The New Art Gallery Walsall

What of industry’s environmental impacts, the topic of my professional interests? Well, there was all that black smoke belching out of factories’ chimneys. Painters readily included these smoking chimneys in their paintings of industry: black smoke meant industrial activity, it meant economic progress, it meant wealth! But as we now know, all that black smoke must have also played havoc with people’s lungs, especially poor people’s lungs – they couldn’t escape to comfortable suburbs far away from all that factory smoke – and especially poor children’s lungs. As industry developed, especially the chemical industry, chimney stacks began emitting different coloured smoke, something which artists picked up.

Leith (1970s) by George Mackie (b. 1920), © the artist. Photo credit: Aberdeen Maritime Museum
Industrial Panorama (1`953) by Laurence Stephen Lowry (1887-1976), © the estate of L. S. Lowry. All rights reserved, DACS 2019. Photo credit: Nottingham City Museums

Artists seem to have been less interested in painting the black rivers – or even sometimes highly coloured rivers if textile factories were involved – which were another by-product of industrialization. As usual, L.S. Lowry seems to have been the only painter who turned his unflinching gaze on this watery ugliness.

The Lake (1937) by Laurence Stephen Lowry (1887-1976), © The Lowry Collection, Salford. Photo credit: The Lowry Collection, Salford
Industrial Landscape, River Scene (1950) by Laurence Stephen Lowry (1887-1976), © the estate of L. S. Lowry. All rights reserved, DACS 2019. Photo credit: Leicester Arts and Museums Service

Of course, when industries closed or went away, this air and water pollution disappeared (only to reappear, though, in the developing countries where the industries relocated). Not so with industry’s solid wastes. In the early days, there was always a useful hole somewhere behind the factories where wastes could be conveniently dumped and forgotten about.

The Tip, Hanley (1946) by Michael Ayrton (1921-1975), © estate of the artist. Photo credit: The Potteries Museum & Art Gallery
Reflections (Rose Hill, Bolton) (1954) by Brian Bradshaw (b. 1923), © the artist. Photo credit: Manchester Art Gallery

Industries may have closed down and moved away, but these noisome deposits stayed. How many of them have I dug up over my career! A poisoned present from past industries left for current and future generations to clean up.

And of course the mining operations – coal mines, tin mines, slate mines, … – have left indelible scars on the UK’s landscape, with their tips of mining waste looming up behind the mining villages.

Landscape, County Durham (date unknown) by Marjorie Arnfield (1930-2001), © the artist’s estate. Photo credit: Middlesbrough Institute of Modern Art, mima
Elliot Colliery (c. 1970) by Gilbert House (1919-2007), © the artist’s estate. Photo credit: Caerphilly County Borough Museums & Heritage Service – Winding House
Miners and Colliery (1970) by Tom C. Brown (1925-2006), © the copyright holder. Photo credit: Llyfrgell Genedlaethol Cymru / The National Library of Wales
The Slate Mines (date unknown) by Fred Uhlman (1901-1985), © the artist’s estate / Bridgeman Images. Photo credit: Herbert Art Gallery & Museum

In my next and final post, I’ll slip in some paintings which didn’t fit my narrative but which deserve to be seen by a wider audience. I’ll also meditate on what has been the deeper impact of this story on the UK.

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All photos from the Art UK website