COMMISSIONS IN THE NORTH OF...

C O M M I S S I O N S I N T H E N O R T H O F E N G L A N D

Since the late 1980’s the North of England has experiencedan unprecedented rise in the commissioning of artists outsidethe gallery. Initially projects like Grizedale and Gateshead’s GardenFestival provided both the momentum and a vision for the region tobe at the forefront of public art commissioning. Success in attractingregeneration and Arts Lottery funding has enabled Local Authoritiesand development agencies across the North to deliver the mostdiverse and stimulating programme of public artworks in the country.

Northern Arts hosted the 1996 Year of Visual Arts which broughtnational and international recognition to the artistic ambition ofthe area. The 1996 Year of Visual Arts has led to numerous flagshipdevelopments including the National Glass Centre in Sunderland,Antony Gormley’s Angel of the North, Art on the Riverside, BalticCentre for Contemporary Art and The Music Centre Gateshead.

Overall, the commitment to visual art as a core ingredient withinregeneration has given the North of England a unique and stimulatingprogramme, which underlines the region’s profile as an area forcreative achievement and growth.

Andrew Dixon,Chief Executive, Northern Arts

R E G E N E R AT I O N

Heaven and Earth RoundaboutThe Heaven and Earth Roundabout by Eric Bainbridge wascommissioned by Hartlepool Borough Council and Cleveland Artsin 1999 and is the latest gateway sculpture in the North of England.

Eric Bainbridge: Heaven and Earth Roundabout. Hartlepool. 1999

Bottle of NotesIn 1993, before the National Lottery and in the wakeof huge social and industrial change, the commissioningof Claes Oldenberg and Coosje van Bruggen to producethe Bottle of Notes marked a confident and ambitiousnew direction for visual arts commissions in the Northof England.

Bottle of Notes. Claes Oldenberg and Coosje van Bruggen. 1993


Train. David Mach. 1997

TrainTrain is a powerful symbol of achievement betweenthe public and private partnership of DarlingtonBorough Council and William Morrisons plc. Train alsostands as a key work for artist David Mach, whoserelationship with the region dates back to his startlingsculpture at the entrance to Gateshead’s GardenFestival in 1990.

It is now hard to think of Gateshead withoutits Angel and also easy to forget just howmuch the once unremarkable site has beentransformed by the artist’s vision. For fouryears Gateshead MBC navigated the uniqueproject through a hail of press, public andpolitical apprehension to deliver the mostpopular piece of public sculpture in Britain.

When compared to the Angel of the North,Antony Gormley’s Field for the British Islesrepresents the same human presence ina miniaturised form. However, its arrivalin Gateshead, 18 months before the Angel’scompletion, marked a new openness in publicreaction to the project; especially for the25,000 people who visited the installationto return the gaze of the 40,000 terracottafigures displayed in a former railway depotin Gateshead.

Clockwise from top: Cutting from the Sunday TimesField for the British Isles. Antony Gormley. Gateshead. 1996Angel of the North. Antony Gormley. 1998

Angel of the North


Above: Tyne Anew. Mark di Suvero. 1999All others: Sea Dreamers Rest. Gilly Rogers. 1997

Art on the Riverside is the largest programmeof public art in Britain. The project is funded by£3.5m from the Arts Lottery and £2.7m from thepublic and private sectors. Situated along the banksof the Rivers Tyne and Wear, the programme aimsby 2002 to commission over 100 artworks anddesign features created by local, national andinternational artists. The project was started in 1995by the Tyne and Wear Development Corporation asa strategic element within their massive programmeof riverside regeneration.

Sited at the mouth of the Royal Quays developmentin North Tyneside, Mark di Suvero’s Tyne Anewrevolves gently in the wind and seems to conductand point to the evolving industrial riversidebackground.

Sea Dreamers Rest was the first permanentcommission for artist Gilly Rogers. Gilly workedto subtly transform an existing capstan with lightand clay pipes cast in resin, and in addition sitedtwo pairs of shoes – cast in bronze – which appearto be waiting at either end of the dock wall withinthe Royal Quays Marina.

Art on the Riverside

The St Peter’s Riverside Sculpture Projectin Sunderland evolved from a feasibility studyby Artists Agency (now Helix Arts) into one ofthe longest running and best-known artistresidencies in the Country. Central to theproject is artist Colin Wilbourn’s workingpresence on the riverside throughout a decadewhich saw the decline and demolition ofshipyards and the reinvention of the River Wear,with a new university campus, marina, fishquay, housing and the National Glass Centre.

Working with a team of Northern artistsincluding Carl Fisher, Craig Knowles and writerChaz Brenchley, Colin has produced numerousfunctional and sculptural artworks which arevalued by the local community and now attractvisitors to walk and cycle along the newSt Peter’s Riverside.

Clockwise from top: The Red House. Colin Wilbourn, Carl Fisher. 1994Paddle Gate. Craig Knowles 1995Stair Carpet. Colin Wilbourn, Carl Fisher. 1992


Art on the RiversideJuan Munoz sited the figures that make up ConversationPiece temporarily in Berwick upon Tweed as part of thecelebrations for the 1996 Year of Visual Arts. The 22 partsculpture was cast in bronze and found a permanent homeat the mouth of the Tyne in South Shields through the Arton the Riverside Programme.

Conversation Piece now stands as a magnificent gatewayto South Tyneside and is a great favourite with visitorswho “eavesdrop” on the mysterious group of bronze figures.

Conversation Piece. Juan Munoz. 1999

Art on the Riverside’s programme of artists’commissions and residencies is now deliveredthrough a creative partnership of four LocalAuthorities; North Tyneside MBC, Newcastle CityCouncil, City of Sunderland and South TynesideMBC. Involvement and interaction with the localcommunity is central to the programme’ssuccess in ensuring that the riversides of Tyneand Wear are not only regenerated, but are alsoconsidered creative and special placesfor everyone who uses them. Clockwise from top: River God. Andre Wallace. Newcastle Quayside

British Artists Blacksmith Association. Newcastle QuaysideNeil Talbot. Newcastle QuaysideTide is Turning. Linda France

T R A N S P O R T

Newcastle AirportNewcastle Airport was committed to ensuring that public artwas considered at the earliest stages within their majordevelopment of a new international terminal. The Airport hasworked with Commissions North and the National GlassCentre to run an invited design competition for a glass screento be sited in the International Arrivals’ Gateway. Through thedesign process the Airport was able to achieve significantsponsorship from HSBC Bank. The successful Newcastlebased glass artist Cate Watkinson will produce thecommission in 2001.

Top and left: Glass design. Cate WatkinsonAbove: International Departures, Newcastle Airport (opened 2000)

Landing Lights, South ShieldsWhen Nexus began to develop a new passenger ferry landingfor South Shields, they were able to join forces with Art onthe Riverside to commission artist Martin Richmond toproduce a series of creative lighting solutions that havenow transformed the structure of the Bascule Bridgeinto a glowing evening beacon.

T R A N S P O R T

Nexus has fully recognised the potential of artwithin public transport over the last 20 years,through permanent and temporary commissionswithin their ‘Art on the Metro’ scheme.

The latest Nexus plans for ‘Art in Public Transport’aim to continue their commitment to public art.Up to 20 artists will be engaged to either makework or designs for the extension of the Metroto Sunderland, or to work in and around refurbishedstations across the network.

Nexus

Clockwise from top left: Ron Hazeldon. The Big ‘O’. Nexus, NewcastleRichard Talbot. Monkseaton Metro StationSimon Watkinson. Sunderland Transport InterchangeCathy de Monchaux. Cullercoats Metro StationOpposite: Simon Watkinson. Sunderland Transport Interchange

N E W A R T S B U I L D I N G S

The arts group Welfare State International has beenbased in Ulverston in Cumbria for 18 years. Theirrole as “Engineers of the Imagination” has enabledthem to establish a unique place in the artistic lifeof the region. When the opportunity to developa purpose built centre for their work arose theyensured that the building was designed witha personality which reflected their work.

Following a Capital Arts Lottery award the LanternHouse in Ulverston was completed in 1999,combining a full range of accessible and creativefacilities within a unique building.

Lantern House, Ulverston

Clockwise from top:Welfare State International at workLantern House. Ulverston. 1999Detail from interior of Lantern House. 1999Wishbone House. The Sitooteries. 2000Welfare State International at work

Arc, StocktonOver Easy is Richard Wilson’s first permanentcommission in the region, although his memorableinstallation ‘One Piece at a Time’ in The SouthTower of the Tyne Bridge commissioned by ProjectsUK in 1987 marks a long association with theNorth of England.

With Over Easy Richard Wilson literally makesa giant section of the building façade revolveto produce a stunning, yet integral, architecturalstatement which visually promotes Arc’s roleas a stimulating arts building. Main picture: Over Easy. Richard Wilson. 1998

Above: One Piece at a Time. 1987


Theatre by the Lake,KeswickCapital Arts Lottery funding has supported thedevelopment of the new Theatre by the Lakein Keswick. Provision for artists commissionswas included throughout the buildingprogramme and a range of crafts based workhas been achieved including Blue Boxes –ceramics by Paul Scott, and street furnitureand signage by sculptor William Pym.

Clockwise from top left: Theatre by the LakeBlue Boxes. Paul Scott. 1999Counterpoint. Julia Barton. 2000Seating. William Pym. 2000Julia Barton. 2000

Brewery Arts Centre, KendalThe re-development of the Brewery Arts Centre in Kendalpresented an opportunity to develop a new courtyard andgarden. The Brewery commissioned Jim Partridge toproduce seating and Julia Barton to evolve a series ofworks, which draw their inspiration from the Cumbrianlandscape, to create a new public space.

Tullie House Museum andArt Gallery, Carlisle

Main picture: Whispering Wall. Stephen SkrynkaAbove: Glass detail. Kathryn Hodgkinson

The opportunity to extend Carlisle’s Tullie House Museumand Art Gallery caused an intense public debate focussingon the role of new art and architecture within the City.

Due for completion in 2000, underground gallery spaceswill combine with a new underpass, linking the Museumwith Carlisle Castle. The underpass will be the site for a seriesof commissioned glass blocks by artist Stephen Skrynka.The work titled Whispering Wall will contain optical objectsand a set of miniaturised speakers that will be triggeredby movement.

Within the design of the new Geology Gallery, the Museumhas appointed Kathryn Hodgkinson, through an invited designcompetition, to develop a major work in cast glass that willhouse the stunning collection of minerals and quartz.


In 2000 work began to clear the site for The Music CentreGateshead by Sir Norman Foster. The project will providea centre of excellence, performance and education acrossthe range of musical styles and is the culmination of10 years of work by a creative partnership of Northern Arts,Gateshead MBC, The North Music Trust, The Capital ArtsLottery, Arts Council of England, Northern Sinfoniaand Folkworks.

Top: Gateshead Millennium BridgeAbove: The Music Centre Gateshead

The Music Centre Gateshead

Opening in 2001, the Baltic Centre forContemporary Art began its commissioningwith Jaume Plensa’s dramatic lightinginstallation and has continued to developa vigorous programme of events andresidencies across Gateshead.

Anish Kapoor’s Taratantara reflected theBaltic’s remit, to bring the most stimulatingartists from across the world to make newworks in Gateshead. Fabricated in red PVCand 50m long, Taratantara temporarilyspanned the building void during thesummer of 1999 and marked the Baltic’stransition from a flour mill, immediately afterthe grain silos were demolished, to a gallery,prior to the installation of the gallery floorsand infrastructure.

Clockwise from top:Homage to Blake. Jaume Plensa. 1996Taratantara. Anish Kapoor. 1999Interior gallery image created by Digital Initiatives. 2000

BALTIC, Gateshead


Now entering a new partnershipwith Sunderland University, theNational Glass Centre was the firstmajor building to open in the UKfunded by a Capital Arts Lotteryaward. It combines the science,production and art of glass withinthe innovative architectural visionof Gollifer Associates.

An international call for artists’proposals led to the commissioningof three artists to produce glasscommissions within the buildingprogramme. Laura Johnston usedtechnically advanced diacroic glassto create the suspended Shoalwithin the atrium. Zora Palova andStepan Pala brought glass castingtechniques from Bratislava to createLight Transformer and Bridget Jonesemployed the hand blown glass thathad been made in Sunderland sincethe era of Bede to create a seriesof leaded panels that tell the storyof glassmaking on Wearside.

Clockwise from top left: National Glass CentreSunderland Room. Bridget Jones 1998Light Transformer. Zora Palova and Stepan Pala 1998Opposite: Shoal. Laura Johnston 1998

National Glass Centre, Sunderland

G L A S S

The North East’s relationship with stained glassand industrial glass production was recognisedthrough the establishment of the National GlassCentre. In addition the region has a richcollection of practising glass artists working in thefield of public commissions who have trained ortaught in glass at the University of Sunderland.

Clockwise from top right:Kathryn HodgkinsonCate WatkinsonSue WoolhouseBridget JonesSue WoolhouseEffie BurnsOpposite: Bridget Jones

H E A LT H C A R E

Art Consultant Germaine Stanger worked withthe Royal Victoria Infirmary in Newcastle toevolve a commissioning strategy for newartwork throughout the Opthamology building.As a result of detailed consultationand planning, the project realised fivecommissioned artworks, a body of purchasedwork and raised significant funding throughthe Arts Lottery.

Clockwise from top: River Tree Sky. Julian Meredith 1988Prints: Donald WilkinsonCone. Colin Rose 1988

RVI Hospital, Newcastle

The drive for modernisation, coupled with newinvestment from Health Trusts and Private FinanceInitiatives, has led to an unprecedentedprogramme of new build hospitals in the North.Dryburn, South Tyneside, Bishop Auckland andSouth Tees Hospitals are all committed toa prominent role for art in health care within theirnew facilities. During 2000 each hospital is invitingartists to make design proposals as part of thedesign development and construction programmefor each building.

Art Consultant Alastair Snow developed the briefsand artists’ shortlist for Dryburn Hospital inDurham. Tyneside based textile artist FionaRutherford is working with HLM Architects ona range of special features to engage childrenon the Paediatric ward, while Jos Smithis producing elegant stone seating and sculpturewithin one of three sculpture courtyards.

Laura Johnston has produced a light and freshenvironment with sandblasted screens and seatingfor visitors and outpatients at South TynesideDistrict Hospital.

Clockwise from top: Dryburn paediatric designs. Fiona RutherfordDryburn Courtyard (during construction). Jos Smith. 2000South Tyneside. Screen and Seating. Laura Johnston. 2000

Dryburn Hospital, Durham

H E A LT H C A R E

Cumberland Infirmary, Carlisle

River of Life. Phil Morsman. 2000

Cumbrian based painter Phil Morsmanhad never previously produced workto an architectural scale; yet hisproposal for six 9-metre banners wasselected by a panel of hospital staffto be the defining feature within theatrium of the vibrant new hospital.The strength and scale of the bannershelps to create a positive and forwardthinking atmosphere for patients,visitors and staff.

L I G H T

Blue Carpet, NewcastleWithin urban design, the tension between creativeinnovation and practical engineering often leadsto compromise and conformity. However,Newcastle City Council and artist ThomasHeatherwick have spent over four years realisingtheir remarkable idea for a new public squarearound the Victorian Laing Art Gallery. The BlueCarpet of terrazzo paving and seating will be litby thousands of integral miniature optical fibrelights. By 2001 the Blue Carpet promisesto be a magical new cultural space withinNewcastle City Centre.

Top: WebSight. David Goard. 1999Above: The Blue Carpet. Thomas Heatherwick. 2000

WebsightDavid Goard’s installation WebSight at a formerpumping station in Gateshead used the power of lightand projection to reanimate familiar surroundings.

The Messenger, DurhamFor over 15 years the Chaplaincy for the Arts andRecreation has overseen the Durham CathedralVisual Artists’ Fellowship which annually invitesan artist to respond creatively to the extraordinaryCathedral building and theological community.The Chaplaincy has developed many visual artand cultural events. However, its commissioningof leading international video artist Bill Violato produce The Messenger in Durham Cathedralas part of the 1996 Year of Visual Arts remainsas one of the most memorable and enduringmoments within its rich arts programme.The Messenger. Bill Viola. Durham Cathedral. 1996

L I G H T

Top: Ambit. Alison Wilding. 1999Above: All Our Heroes Are Real. Charlie Holmes. 1999

Ambit, SunderlandAlison Wilding’s response to the empty space in theRiver Wear, left by the vast former Austin’s Pontoon,was to mark this site of great industry with a quietand contemplatory floating sculpture, moored in themidst of the tidal river.

Twenty two stainless steel cylinders, linked withtensioned springs and carrying an underwater lightingsystem form Ambit. It produces a unique floatingand changing shape, which glows at night andechoes the renaissance of the River Wear.

All Our Heroes Are RealCharlie Holmes’ response to the opportunityto make a permanent intervention at the newEaston Sport Academy was to producea digitally enhanced photographic muralcovering the entire stairwell and to brand thebuilding at night with the poignant neon maximAll Our Heroes Are Real.

Katayoun Dowlatshahi marked the completionof her residency at Durham Cathedral withInternal Dreams: External Spaces – anethereal construction of stainless steel, glass,light and photography, temporarily installedwithin the Cathedral in 1999.

Krysztoff Wodiczko’s temporary projectionacross the Tyne followed the public spectacleof a 1990 November 5 firework display onthe Newcastle Quayside and marked amoment in time just before thecommencement of riverside redevelopment.The project was commissioned during theTyne International Arts Festival by Projects UK(now Locus+).

Internal Dreams:External Spaces, Durham

Top: Internal Dreams: External Spaces. Katayoun Dowlatshahi. Durham Cathedral. 2000Above: Projection. Krysztoff Wodiczko. Tyne Quayside. 1990

N E W M E D I A

The Big MThe Big M was launched at the InternationalCentre of Life in Newcastle in 2000. It wascreated by Isis Arts and designers Inflate as aportable venue and exhibition space for new workby artists working with video and digital media.

TemporaryCumbrian artists Maddi Nicholsonand Stuart Bastik were commissionedby Durham City Arts to producean inflatable venue which toured CountyDurham villages and communities,providing a startling new space for livearts, music and performance.

Clockwise from top left: Big M. Isis Arts. 2000Interior of Big M. Isis Arts. 2000Simon Jones. NGCA residency. 1999Alex Riley. VANE. 1999Village Hall. Maddi Nicholson and Stuart Bastik.2000Opposite: Global Village. Temporary installation atMiddlesbrough Art Gallery. Brigitte Jurack. 1999

U R B A N D E S I G N

The Grainger Town Partnership was established in 1996to deliver a massive programme of urban design works withinthe heart of Newcastle. They have viewed public artcommissioning as integral to their work in creating Newcastleas a cultural and creative centre. Public Arts Consultancy wereappointed to produce a detailed arts strategy that identifiedopportunities for a range of artists’ commissions withinRichard Grainger’s 19th Century architectural masterpieceof urban planning.

The Grainger Town Public Arts Strategy includes commitmentsto involve artists in the creative lighting of major buildings,to work with artists based in the City to design new pavingcommissions, and the ‘Art at the Heart’ scheme which enablesthe private sector to work with artists by providing initial grantaid for artists’ designs.

Charlie Holmes has produced the first major commission of theGrainger Town programme with his text dedication to RichardGrainger cast in iron in the shadow of Grey’s Monument.

Grainger Dedication. Charlie Holmes. 2000

Grainger Town,Newcastle

Following a major Arts Lotteryaward, Barrow-in-Furness BoroughCouncil established a Public ArtOfficer post and has begun aprogramme of artists’ commissions,ranging from sculpture to signage.These commissions augment thedevelopment of the Town centreand signify new confidence andownership in the public realm.

Clockwise from top: Signage. Maddi Nicholsonand Stuart Bastik. Barrow. 2000Wendy Taylor. Barrow DockStone. Tim Shutter. Barrow 2000Stone. Tim Shutter. Barrow 2000Seating. Alan DawsonJulia Barton. Barrow Dock

Barrow-in-Furness

PA R T N E R S H I P S

Sitooteries, English HeritageWithin the stunning house and grounds of Belsay Hallin Northumberland, the Sitooteries project marks a way forwardfor commissioning. The 11 temporary structures challengepreconceptions and inspire visitors to the English Heritage propertyby synthesising the work of artists, architects and designers.

The Sitooteries project evolved from a partnership between EnglishHeritage and Northern Architecture and benefited from businesssponsorship from the design group Barker and Stonehouse.

Clockwise from top left: Norman FosterEnclosed Plane. Mosedale Gillatt with Octo DesignRocky Love Seat. Tanya KovatsDumb Waiter, Simon WatkinsonPSI. InflateOpposite: You Make Me Feel. FAT

PA R T N E R S H I P S

National TrustPeter Randall-Page was commissioned by the NationalTrust to produce the powerful carving 100-Year Stone atDerwent Water, to mark the Trust’s centenary. The projectwas managed by Cumbria Public Art.

Top: 100-Year Stone. Peter Randall-Page 1995All others: Ingrid Pollard. 2000

Lindisfarne and Farne IslandsArts Resource developed a partnership between GNERand the National Trust, which enabled artist photographerIngrid Pollard to undertake a residency based commissionto record life on the Farne Islands, a designated site ofspecial scientific interest off the Northumberland Coast.

Keith Pattison’s Home and Away projectfocussed on the fans of Newcastle Unitedduring the emotional 1995-1996 footballseason. Sponsored by Newcastle BrownAle, the portfolio of photographs was seenin shopping malls and 700 bus sheltersacross the region.

Home and Away. Keith Pattison. 1996

Home and Away

E N V I R O N M E N T

Within Sustrans’ work to create a national cyclenetwork, artists have been commissionedto make sculpture, landmarks, earthworks, seatsand stiles. In particular, the C2C cycle route fromWhitehaven in Cumbria to Sunderland onWearside is home to a series of sculptures,which punctuate the landscape.

Clockwise from top: Unveiling of Terris Novalis. Tony Cragg.Consett. 1997Terris Novalis. Tony Cragg. Consett. 1997King Cole. Andy Kemp. 1992Leadgate Maze. Andy Goldsworthy. Consett. 1989

Sustrans, C2C

Andy Goldsworthy’s long association withCumbria dates back to mid 1980 when hemade a series of works in Grizedale. However,the Sheepfolds commissions take his work fromthe forest and into the Cumbrian fells. Throughnegotiations with farmers and landowners,Goldsworthy is rebuilding traditional sheepfoldsand pinfolds with a team of local drystonewallers, adding unique sculptural featuresto reform creative and functional structureswithin one of the most sensitive environmentsin Britain.

Cumbria County Council worked with CumbriaPublic Art to secure a major Arts Lottery Awardfor Sheepfolds in 1995 and the project aimsto create new Sheepfolds annually.

Sheepfolds. Andy Goldsworthy. Ongoing

Sheepfolds, Cumbria


Turning the Tide, EasingtonEasington District Council in County Durham has ensured thatartists are at the heart of its community and environmentalprogrammes. In 1996 it commissioned Looking Beyond –a series of artists’ residencies and commissions in former coalfieldvillages that involved local people in the production of new artworksand spaces. Following this success, artist Mike Johnson wasappointed as artist in residence for the regeneration of Murtonand Seaham.

For over 100 years coal waste was dumped from the mines ontothe County Durham coast, The ‘Turning the Tide’ project has nowcleaned and restored 10 miles of beach and coastal paths, andthe achievement was celebrated in 2000 by fireworks, floodlightsand arts performances synchronised across 3 coastal villages.

HerringtonDavid Paton worked alongside opencast minersand landscape design professionals to producea series of sculptures and carvings fromsandstone excavated from the former deepmine site and vast pit heap in Herrington.

In 2001 the site opens as a huge country parkand the sculptures will be sited at key pointsacross the re-landscaped site. A unique artsproject within British opencast mining,the project required significant partnershipsupport from One NorthEast, RJB and CrouchMining, and was developed by the City ofSunderland’s Public Art Programme.

Clockwise from top:Turning the Tide. Easington FireworksSite Lines. David Paton. 2000Seat detail. David Paton. 2000Herrington Opencast Mine. 1998

Monkton Coke WorksThe former coke works at Monkton holdmemories in South Tyneside as a dark landmarkbelching smoke and fire. One NorthEast’sredevelopment of the site enabled Helix Artsto begin an arts project that looked forwardto a new life for the site. Lead artist WilliamPym’s role was to design a thematic landmarkand to involve local trainees in the productionof the sculpture, which now marks the gatewayto the new Business Park.

Great North ForestLaunched in 1990 Great North Forest (GNF)aims to plant a community forest acrossTyne and Wear and to encourage peopleto use and value their local countrysidein a new way.

The ‘Marking the Ways’ initiative broughtforward many new commissions for sculpturalseating and waymarkers, with artists workingwith local people. In 1999 GNFcommissioned a programme of poetry andanimation in the community titled Viewsof Views and from 2000 will be workingon a series of 5 gateway sculptureswith artist William Pym.

Clockwise from top: Swarm. William Pym. Hebburn, South Tyneside. 2000Cone. Colin Rose. Chester-le-Street. 1997Stile. Keith Barrett. 1999


By engaging 10 different sculptors with 10sites and communities along the 50 milecourse of the River Eden, the East CumbriaCountryside Project has gone beyond the normof landscape interpretation to produce a highquality series of artworks for both visitors andresidents to enjoy in the Eden Valley.

Clockwise from top: South Rising. Vivian Mousdell. Edenhall 1996Water Cut. Mary Bourne. Mallerstang. 1997Global Warning. Anthony Turner. Rockcliff. 1998

Eden Benchmarks, Cumbria

Within the Heritage Lottery funded restorationof Mowbray Park, Sunderland’s Public ArtProgramme was able to advocate a role forcontemporary artists and designers to createnew features for the Victorian park inSunderland City Centre.

In addition to the artworks in the park, majornew commissions by William Pye, FusionGlass and Wendy Ramshaw OBE, will bedelivered through the rebuilding ofSunderland Museum and Winter Gardenswhich overlook Mowbray Park.

Clockwise from top right: Rustic Swan House. Roger Dickinson. 1999Walrus. Andrew Burton. 2000Play Area. Richard Caink. 2000Poetry and lettercutting. Linda France and Alec Peever. 2000

Mowbray Park,Sunderland


Clockwise from top: Colin Rose. TingSally Matthews. Wild BoarsRichard Harris. Hollow Spruce. 1988Meeting and Greeting. Clair Shoosmith. 2000Opposite: Billboard: Wild Animal and Den. Marcus Coates. 2000

GrizedaleThrough the vision of Bill Grant, Director of theGrizedale Society and Peter Davies at Northern Arts,Grizedale Forest began a relationship with sculpture,which established it as a leading international forcein environmental art throughout the 1980’s.In recent years Grizedale’s contemporary artsprogramme has drawn increasing visitor numbersand is now developing an exciting new curatorialdirection by working with artists working in newmedia, performance and installation.


KielderThe vast and remote forest that surrounds Kielder Reservoiris now home to an outstanding collection of sculpturedeveloped by the Kielder Partnership. In recent years theKielder arts programme has taken an increasingly architecturaldirection with Belvedere by Softroom marking a way forwardfor stunning new design within the forest.

James Turrell’s Skyspace is the most recent commissionin Kielder. Sited at Cat Cairn overlooking the reservoir; visitorsto Skyspace experience a unique optical sensation as theyview the sky through the light balanced interior.

Clockwise from top: Detail from Keepsakes. Nicola Moss. 1997Belvedere. Softroom. 1999Keepsakes. Nicola Moss. 1997Opposite: Skyspace. James Turrell. 2000

C H U R C H C O M M I S S I O N S

Church commissionsSt Mary’s Cathedral in Newcastle sought to celebratethe life of Cardinal Hume and selected a design for alife size bronze by Nigel Boonham following a limiteddesign competition and public exhibition.

David Ward’s installation Plumb was made followinghis fellowship at Durham Cathedral. Plumb wascommissioned by Canon Bill Hall through theChaplaincy for the Arts and Recreation’s ongoingprogramme of contemporary arts and events.

Clockwise from top:Cardinal Hume Maquette. Nigel BoonhamCathedral Church of St. Nicholas. Stephen Cox. 1997Detail from Cathedral Church of St. Nicholas.Stephen Cox. 1997Plumb. David Ward. Durham Cathedral. 2000

Lanes Mall, CarlisleWithin The Lanes Shopping Mall inCarlisle, Laura Johnston wascommissioned by Morley Properties Ltd.to produce a series of suspended diacroicglass elements, which will animate thespace with reflected colour.

Top: Bridges Mall. John Patsalides. 2000Above: working designs. Laura Johnston diacroic glass

Bridges, SunderlandThe commitment to making a culturalstatement has been acknowledged bytwo major developers, who have allocatedsignificant funding towards artscommissions within their new retaildevelopments in the North.

Following a limited design competition,Land Securities appointed John Patsalidesto produce a series of glass constructionsthrough the new Bridges Shopping Centrein Sunderland.

P R I V AT E S E C T O R


Central Square, NewcastleA real commitment to creativity is evident throughoutCentral Square in Newcastle. Parabola Estates havecommissioned the imposing Vulcan bronze by SirEduardo Paolozzi and have placed artworks throughoutthe atrium and interior of the building. ParabolaEstates are planning further commissions withinCentral Square South.

Clockwise from above: Vulcan. Sir Eduardo Paolozzi. 2000Ove Arup reception glass. Bridget Jones. 2000Detail Jilly Edwards

Ove Arup Engineers were the first company to relocateto Central Square and immediately considered aprogramme of artists’ commissions for their newoffices. Following a shortlisting process Ove Arupcommissioned textiles by Jilly Edwards, ceramicsby Paul Scott and a series of glass panels in theirreception by Bridget Jones, based on Ove Arup’selegant design solutions for structural engineering.

Clockwise from top: Seating. Ali Rhind. 2000Glass screen. Sarah Richardson. 2000Velvet Curtains. Jasmine Hixson. 2000Screen. Stephen Newby. 2000

Central Square, Newcastle

When Northern Arts relocated to CentralSquare, opportunities were identifiedby Commissions North to engage regionalartists to produce high quality functionalworks throughout the offices andconference rooms.


Top: A Small Point. Andrea Thornhill.Above: Winter Sea (series). Elinor Eastwood

Northern PrintNorthern Print are based at North Shields FishQuay and offer an open access resource toartists working with print and a professionalleasing and sales service for businesseswishing to acquire original contemporary prints.

From top: David ArnoldStephen NewbyFiona Gray

Commissions NorthCommissions North has been established withinNorthern Arts to help individuals and organisationscommission the work of artists and craftspeople.In addition to developing new creative opportunities,Commissions North aims to provide practical helpand support to achieve the best in visual art, craftand design commissioning.

Our services include:

AXIS DATABASE – a national digital database showingthe work of over 4,000 artists and craftspeople.

PROJECT DEVELOPMENT – advice on selection, briefsand contracts.

PROMOTION AND ADVOCACY – promoting the ideaof involving artists in projects through talks andpresentations to prospective commissioners andbusiness.

GRANTS – to fund artists’ proposals and selectionprocesses.

If you would like to discuss any aspect ofcommissioning art works, contact Commissions Northfor free advice and information:

Contact Matthew Jarratt, Commissions AdvisorDirect Line 0191 255 8555 Email: [email protected]

Art Purchase PlanArt Purchase Plan is a scheme that enablesmembers of the public to obtain interest free loansof up to £2,000 for the purchase or commissionof contemporary art and craft. The loans areavailable through over 50 galleries throughoutthe region who are members of the scheme,as well as directly through artists or makerswho live and work in the region.

Contact Gail Acaster, Visual Arts Projects OfficerDirect Line 0191 255 8556 Email: [email protected]

C O M M I S S I O N S

Clockwise from top: Upper Room. Colin Wilbourn. Durham Riverside. 1988Rolling Moon. Colin Rose. Gateshead Riverside. 1988Miners’ Monument. Conrad Atkinson. Cleator Moor, Cumbria. 1988

Design and production:Ripe Design Consultancy, Gateshead

Photography:S. Chettle, V. Corbett, R. Deepres, A. Dixon, S. Gamester, R. Glover, A. Heptinstall,P. Highnam, M. Jarratt, R. Kench, C. Litherhead, Locus+ Archive, Nexus, S. Norman,L. Otter, K. Paisley, K. Pattinson, M. Pinder, I. Pollard, Sustrans Archive, N. Taylor,R. Walton, S. White, D. Williams, E. Woodman

1980’sFor over a decade artists in the North ofEngland have addressed issues of history,regeneration, participation and ambitionin order to place art in a public context.

FutureCurrently in design development, the innovativesculptures Mirror by Dalziel and Scullion forWhitehaven and the Sunderland Gateway byLanglands and Bell underline the ongoingcommitment in the North of England todevelop and achieve the best in public artand ensure the region’s economic regenerationis matched by its cultural ambitions.

Top: Whitehaven Mirror. Dalziel and ScullionAbove: Sunderland Gateway. Langlands and BellBack cover: Angel (toes detail)

N O R T H E R N A R T SCentral Square, Forth Street, Newcastle upon Tyne NE1 3PJ

Telephone and minicom: 0191 255 8500 Facsimile: 0191 230 1020Email: [email protected]

www.arts.org.uk

COMMISSIONS IN THE NORTH OF...

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