Network visits for the Leicester Peoples Photographic Gallery took Ian Davies and me to Bradford and Leeds last week. Our first stop was Impressions Gallery, in Centenary Square. Impressions Gallery is located in Bradford’s newest open space, Centenary Square, with a large water-feature and pool. On the day we visited, and despite it not being particularly warm, there were many families and children enjoying paddling in the pool and dodging through the fountains. While we had a look around the gallery, it was unfortunate that we’d not been able to make contact with a member of the team from the gallery who could chat with us. The exhibition space is excellent though, with large white walls and a high ceiling creating a versatile venue. Presently showing was Forever Young, a touring exhibition which is billed as “a retrospective of James Barnor’s street and studio photographs, spanning Ghana and London from the late 1940s to early 1970s.”
Next we headed over to the National Media Museum, for a look around the exhibitions and galleries depicting the history of photography, television, gaming and now the internet. It’s always a pleasure to visit the National Media Museum, as there is always a good atmosphere, with a focus on activities for children. They usually end –up reading the news or the weather. The Kodak Gallery on the lower ground floor lays out the history of photography, but it’s interesting that the latest camera in the collection is a Nikon F2. Obviously the gallery doesn’t extend into the digital realm, and there’s not a smart-phone to be found. Is analogue photography is truly becoming a museum display then?
Our overnight stay in Leeds was at the University of Leeds Halls of Residence, which is a modern building that has very good accommodation and was only ten minutes’ walk from the city centre. We had a lovely meal in the evening, at Veritas, just opposite the Leeds General Infirmary. Ian particularly enjoyed the Sticky Toffee Pudding.
Our visit to the White Cloth Gallery was especially good, as there is a clear sense of inclusivity and an eagerness to engage visitors with a positive experience. The gallery is something of a mix between a gallery and a bar/café. This enhanced the informality of the visiting experience as it was less likely to be a hushed and academic experience, as had been the case with some of the galleries we had visited over the previous weeks. We spent time chatting with Kirstin Black, the galleries marketing director, who explained that White cloth doesn’t receive any bloc-funding, but instead relies on the support of a benefactor and by running the café and bar, as well as putting on events and hiring the gallery space to the public. It was good to hear about the ethos of inclusivity that White Cloth pursues, so it will be worth keeping in contact and sharing some of the networking skills that Ian has developed with the White Cloth team.
Once again it was well worth the effort of travelling to visit these galleries and finding out more about the approach that each gallery takes to servicing its audience. There are so many variations of approach that it’s possible to pick and choose good practice from each of the galleries and to incorporate that into the development of Leicester Peoples Photographic Gallery.
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