2020 Art in Isolation
Like everyone else, over January and February we watched with increasing horror as Coronavirus spread around the world. With Claire working in the NHS we were acutely aware of the issues within London hospitals, especially after she was redeployed to work in ITU (intensive care) on the Covid ward. So in mid March we decided to do a fundraiser in which all profits would go to the NHS. We were very early to stage such a fundraiser and there were articles in several national papers including The Guardian, The Daily Telegraph and the Daily Mail which helped to generate sales. From April it was also amazing to witness an incredible sense of community and an almost overwhelming number of fundraising initiatives. We have done what we can to support these charities and have acquired works to suport the NHS, Refuge, Crisis, the Trussell Trust and Maggie's Cancer Charity. We have also bought works from the phenomenally successful #artistsupportpledge whereby artists make sales to support themselves. In this online exhibition we present some of the artworks that we have purchased for the collection with details of the fundraisers. Our support is ongoing and we will continue to add further works in the coming weeks.
Key Works. An overview of British Photography
The Hyman Collection of British Photography holds vintage photographs and editioned prints of many of the most famous and iconic photographs in British Photographic history as well as remarkable, but less familiar, images.
Key Works presents photographs from the collection to chart the ways in which British photographers have responded to the world around them from the documentary strategies of Bill Brandt and Picture Post photographers such as Bert Hardy and Kurt Hutton, through Roger Mayne and Tony Ray Jones, and on to Martin Parr, Paul Graham and their legacy.
As well as including forms of documentary photography, the collection focuses on artists working in photography who have pursued more subjective or conceptual strategies. The collection has an equal number of works by male and female artists.
Installations and multi-media works
The Hyman Collection includes several major installations. These include Anya Gallaccio's famous Red on Green, an installation of ten thousand red roses. Several of these installatuon engage with the nature of photography and its legacy, including pieces that reference the history of photography (Lovelace), engage with the relationship of photography and drawing (Goodwin), photogaphy and sculpture (Hartley) and photography and film-making (Taylor-Johnson).
Body Politics. From Welfare State to Personal Wellbeing
The Hyman Collection has many works which address the human body, mental and physical health, mortality and vulnerability.
Land of Make Believe
A central aspect of the Hyman Collection's holidings of British Art addresses masquerade, performance, costume, ritual, parade. There is a strong thread of fantasy and a variety of works that respond to eccentricity, constructions of identity, and the heritage industry. From the drama of the street to more internal monologues, these mini fictions question the authenticity of what is shown.
Behind Closed Doors
Behind Closed Doors looks at the domestic interior in British Photography. It takes as its starting point three of the most important bodies of work by Bill Brandt: his first book, appropriately entitled The English at Home (1935), his documentation of poverty in northern England, and his pioneering domestic nudes. It explores the parametres of these bodies of work: from documentary to fiction, realism to something more surreal. This historical engagement suggests that to understand contemporary depictions of the home there is much to learn in exploring a lineage that extends from Bill Brandt through the crucial years of Picture Post magazine (Kurt Hutton, Burt Hardy) and on to more conceptual strategies since the 1970s. It ends with some of the most important work of recent years, the devasting series, Small Town Inertia, by Jim Mortram.
The photographers include Cecil Beaton, Bill Brandt, Anna Fox, Ken Grant, Bert Hardy, Nick Hedges, Kurt Hutton, Colin Jones, Karen Knorr, Daniel Meadows, Peter Mitchell, Jim Mortram, John Myers, David Moore, Martin Parr, Polly Penrose, Jo Spence.
Votes for Women
The Hyman Collection consists of an equal number of works by male and female photographers and particularly seeks to support young female phoographers. One theme of the photographs in the collection by women is identity and self-identity. In the centenary year of women getting the vote, this exhibition explores the various roles played by self-portraiture and women's photographs of other women.
Modern Nature. Photographs from the Hyman Collection
Exhibition at the Hepworth Wakefield, 2018-2019.
Drawn from the collection of Claire and James Hyman, which comprises more than 3,000 photographs ranging from conceptual compositions to documentary-style works, Modern Nature included around 60 photographs taken since the end of the Second World War, through the beginnings of de-industrialisation to the present day. It explored the merging of urban and rural landscapes, the rapid expansion of cities and the increasingly intrusive management of the countryside. Rather than present a Romantic dichotomy between the rural and the urban, the exhibition presented a more contemporary sensibility that is frequently situated in the edgelands, the often scruffy margins, in which town blurs with countryside.
Picture Post: photo-journalism and the internationalising of British photography.
The Hyman Collection is delighted to have acquired an exceptionally rare complete, un-bound, run of the famous Picture Post magazine in impeccable condition. The collection also has many of the actual vintage photographs used in the magazine, which often bear the original instructions and mark-ups for publication, by photographers such as Bill Brandt, Bert Hardy, Thurston Hopkins, Kurt Hutton and Grace Robertson.
Sign of the Times. Word and Image in British Photography
Photographs in the Hyman Collection collection allow one to explore the use of word and image in British Photogtraphy and allow one to chart a number of strategies by which text is used to provide a commentary on what is shown or to deepen its meaning. At its most pobvious text may indicate a time or place but frequently it introduces an additional dimension whether it be humour, social commentary, political engagement or semiotic concerns. Initially embedded within the picture, by the 1970s text was increasingly used to accompany the image, often screenprinted beneath it, to direct the viewer's response to what is shown in ways that may be humorous but are often subversive, ironic, satirical or polemical.
In 1903 the photographer H.S. Mendelssohn asserted that "Portraiture is now in the hands of the women". This was a remarkable development. Just a few years earlier there had been only one West End photography studio run by a woman but by the Edwardian period women had risen to prominence. A lead was provided by Alice Hughes, whose example inspired others such as Lallie Charles and her sister Rita Martin to open portrait studios, but women also served as photojournalists as with the prominent example of Christina Broom and the less well known work of Kate Pragnell.
The Hyman Collection of British Photography includes many works which address the countryside including both landscapes and depictions of village life. These include depictions of the land as in Fay Godwin's pastoral idylls, John Blakemore and Thomas Cooper's metaphoric treatment of nature, John Davies's exploration of industry, Jem Southam's subtle depiction of man-made interventions, and Keith Arnatt's subversive views of areas of outstanding natural beauty. The collection also includes pictures of village life that focus on people and pastimes. Villages are shown to be sites of ritual, curiosity and strange events. These include Tony Ray Jones's eye for quirks and foibles, Homer Sykes's depiction of folk pastimes, bonfire night and other communal events in Anna Fox's Hamphsire village, Paul Reas's witty response to heritage tourism and Colin Jones's photograph of the Queen at Sandringham.